This Frequently Asked Questions (FAQ) section of the site attempts to provide answers for the most frequently asked questions that occur.
There are two broad types of questions:
1. about theatre generally 2. about this website, Theatre Australia
If you don't find your answer contained here in the FAQ and a search of the site doesn't turn up an answer, please post your question in the most appropriate forum or use the feedback form.
About theatre
This section of the FAQ attempts to answer frequently asked questions about theatre in general.
If you don't find your answer contained here in the FAQ and a search of the site doesn't turn up an answer, please post your question in the most appropriate forum or use the feedback form provided.
Actors and Acting
Selection of tips, tricks and other information for actors about acting.
Auditioning
The following is some info on how to audition for things, tips and hints, etc.
Hints for Auditions
HINTS FOR AUDITIONS Prepared by Jenni Cohen Casting and the WA Equity section of MEAA
Always try to enjoy the experience of the audition. It is a great way to keep your skills tuned and a great way to network.
AUDITIONS AND YOUR AGENTS When your agent calls to book you for an audition, remember to ask:
- What is the audition for? - Where is the audition? - What time is the audition? - How long will the audition take? (Understand how much time you will be given to present yourself.) - What is the part? - Have they given you any hint about the character? - Are there any dress requirements for the character? - Are any accents required? - Is there a script available to learn? - Any physical movement skills required? If so, wear something you can move comfortably in. - When is the shoot date? (Make sure you are available for the part you are auditioning for. It's not good form to take up a director's time only for them to find you're not available.) - What is the fee, if chosen for the job?
BEFORE THE AUDITION
- Prepare as much as you can. If you have a script, learn and practise it. If there is no script then make sure you find out as much as possible from your agent and do a little research. - Practise in front of a mirror, in front of a home movie camera, or with someone. - Dress appropriately, i.e. if there are dress requirements, follow them. If possible, wear something suitable for the part you're auditioning for; otherwise, smart casual. - Take a brief resume/CV, with your vital statistics (height, suit size, etc). Casting agents sometimes ask you to fill these details on one of their forms, while waiting. - Make sure you know where the audition location is. (Look it up in the map book or even do a trial run to the location). Allow for traffic, and finding parking. - Be there 5 to 10 minutes before time. - If you are late or lost, call your agent immediately so that they can contact the casting director. - Stretch; do a vocal warm up; relax. Have a water bottle handy. - Turn off your mobile phone
DURING THE AUDITION
- Be aware of the space you are in, and the type of role you are auditioning for. (i.e. for theatre/musicals, they want to hear you fill the space. For camera, they want you to be natural.) - If you are talking to an 'invisible' character, decide on a fixed point to focus your eyeline. - Find out how tightly the camera is focussed on you. Be careful, if you move, that you don't go out of frame. If it's a tight close up, keep all movement to a minimum. - Listen to what the casting director asks. They are looking to see if you can take instruction. - Don't look down the barrel of the camera unless directed. - If you are reading from a script, hold it so your face is not obscured, and look down as little as possible. - Remember that the camera picks up everything so underplay rather than overplay. - Keep acting until you hear 'cut'. - Be prepared to try things several different ways. If you're given direction, make bold choices in that direction.
AFTER THE AUDITION
- Review what went well or what could've been better...but don't get too stressed about it! - Call your agent and let them know how the audition went. - Ask your agent when they expect to hear the results and can they try to get feedback if possible. Keep your schedule free until then. - Follow up with a call about a week later. - Forget about it and look forward to the next one!
These are just a few resources found when doing Web Searches. If you find a broken link, please leave a comment.
How to SCREAM without killing vocal chords?
Hey people,
Does anyone have info about how to scream (or sound like you're screaming) without hurting your voice?
Thanks muchly!
abbz
Its all in the Accent
An accent can make or break a production, seriously. It can add a sense of location when done well and is overly distracting if done badly.
I have to admit I have always found it easy to pick up accents (sometimes so easily I get them mixed up!) and I guess that is from years of impersonating characters off the radio and Tv. Pretty much all of the productions I have done, I have been able to get away with my natural speech or a slight English lilt. It wasn't until a couple of years ago when I did a production requiring an American Accent. I didn't even think about it. I just did it. The reviews however caught me off-guard. All were quite favourable but one in particular stuck out. It made the comment "His gentle American soap-star accent stapled neatly to him and never slipping (as indeed did all of the cast's accents remained impeccably pinned to their lips, never seen such a convincing lot) he engenders our sympathies with his torn plight." I for the first time realised the impact of a good accent.
But what exactly was it that I and my fellow cast members were doing to accomplish this? So I read up on the subject. I was initially surprised by the technical aspects of accents but then it all made sense.
In a global sense, there are two theatrically accepted and distinct English Accents, Received Pronunciation (Common British) and General American. For Australian Theatre we have General Australian. Underneath these, you have the many derivatives and subcultures. Each accent is placed physically in a different area of the head when spoken and will use the lips, tongue and jaw in completely different ways. Some accents would sound letters that weren’t there and then would drop those same letters when they were.
It really is quite a complicated sounding issue but surprising easy to pick up. I have found that once someone has developed a general feel for the sound of certain words, they can quickly adapt their speech without much effort. I was recently asked to help a few actors with American Accent development. One in particular had a rather broad Australian accent and they were worried that they would not be able to do it.
The 2 main differences between American and Australian accent are; 1) Australians tend to speak with their lips spread across and Americans are more conservative preferring an up and down spread. 2) Australians form their words mostly in the back of the throat while Americans are higher and more central, just the below the nasal cavity. For comparison, Received Pronunciation if located toward the front of the mouth and uses minimal movement of the lips in any direction.
Needless to say, once this actor exposed themselves to an instructional course of American Accents, they were able to complete the next rehearsal almost flawlessly. Quite an achievement in itself, but it just goes to highlight the ease that such a task can be accomplished with drive and dedication.
If you liked this or found it useful, please vote for it.
rejection
I am awaiting a call of rejection, from a musical I have been dying to get into. Any ideas as to how to accept rejection graciously??
[%sig%]
What An Actor Needs In A Headshot
I'm about to get my first set of headshots done, but there are some specifics that I'm not sure of.
Firstly, what is a contact sheet?
Secondly, these 8" x 10" prints that every actor should have, are we supposed to have a whole stack to hand out, or are we supposed to have one to take to auditions but still keep for ourselves?
It sound very expensive to keep handing out these 8" x 10" prints.
Any other information on headshots would be helpful.
Thanks!
Agents, Agencies and the Union
Finding a good casting agent, what may make one agency better than another and most importantly maintaining a good relationship with your agent and their clients - your employers - is an important topic prompting plenty of debate and comment on this site.
By all means, ask questions and seek advice about agents but consider the following important information first.
Media Entertainment Arts Alliance provides a list of registered agencies in each state of Australia: Agent Listings
Note there are registered agents and MEAA emphasise that they make no recommendations.
It is illegal in a number of states for agents to charge up front fees. Specifically, it is illegal in Queensland to charge an upfront fee for representation. Also, it is illegal for an agent to charge more 10% commission on your gross wages. The 10% fee is the total amount payable. You should not pay your agent for postage, phone calls or similar costs.
Arts Law Centre of Australia offers information on what agents do, contracts and legal information, the agent's obligations, and so forth. In particular they discuss laws in NSW that set limitations on percentages and fees.
Updated 15th June 2011 - Initially posted on The Prompt Copy. Updated 08th Sep 2011 - Alliance Web Site - refresh of Agent lists.
Anyone thinking of finding professional work in the performance industry has basically two primary choices; find an agent or be your own agent. Both have their pros and their cons, and can leave you high and dry if you don't employ some judicious care.
If you go it alone, then good luck to you. You will need to establish all of your own contacts, develop your industry reputation from nothing and hard-sell yourself on a daily basis. That's not to say it is impossible. It has been done and there are many out there who say that it is the better option. For most of us, starting from scratch is simply ludicrous so we flop open the Yellow-pages and let our fingers do some of the walking.
Finding an Agent who will represent you means not having to make as much effort in finding the desired pathways and contacts into your chosen profession. Please note that I said "as much effort" as opposed to "don't worry guys, they do everything for you." You will still need to learn the art of self-marketing and not-quitting. You will also have to be very judicious in who is going to represent you. You can't just walk into the first Agent you find, sign-up, then sit back and wait for the jobs to come rolling in. That is just not the way it works.
"Isn't it?" I hear some of you ask. Of course not.
Knowing Yourself
Firstly, what area are you looking to get into? Film, TV, Theatre, Musicals, Opera, Comedy?
What types of roles? Minor and supernumerary roles, or are you going whole hog for only the leading man and lady?
What geographical spread are you looking to cover? Your local backyard or maybe you want to go globally? Probably best to start aiming a bit lower.
What experience do you already have and are you prepared to seek out more? (The answer to this should always be lots and yes.)
That is before you even walk in the door to a prospective agent. Once you have a better understanding of what it is you want from an agent, the better armed you will be when you start calling them. Yes calling them. Now you need to find out more about them and see if they are compatible to your requirements.
Knowing the Agent
There are lots of them. Really. They cover all different aspects of the industry and come with different extras or pit-falls. Be wary. There are opportunists and profiteers out there who like to take advantage of our industry and the large numbers of hopeful young men and women all so keen to "make it big" as it were.
Your first port of call should be the Media, Entertainment and Arts Alliance as technically, they are your Union Representative. They fight for your rights and pay rates, and they fight hard. I would suggest that anyone who is seriously considering a professional career in this industry to register with the union as they can be a vital crutch. Here you will find a list of agents who are registered with the Union. Mind you, as the disclaimer on the site says, this is not an endorsement of the agent as the union cannot verify and validate every agency that is out there. It does substantially improve your chances of missing those more dodgy deals, however you will still need to do a little research.
Now you have your list of potential representatives, you need to start putting the feelers out. Make a few calls and inquire about what services they actually provide, what the process is in joining up and so forth. Some questions that may be a useful start might be;
How many people do you already have on the books? This will give you an indication of where you may fall in the pile. A Large number of existing clients may indicate high popularity of the agency which is good but may also imply that you could easily become lost in the numbers.
How long have they been running the business? When was the last change of management? Long term performance is usually a good sign of market strength. That is not to say that a newer agency is not worth a shot. You can never be too certain.
What shows/productions have they actually cast for? Are the productions ones that you know about yourself and if so, this may be a good way to validate what they tell you.
Do they have a recommended photographer? Find out who it is and you may be able to do a little research there also.
Maybe they offer training services. Are they accredited? What is the cost and so on.
These are just sample questions. Do try and think of further questions to ask, after all, you are asking these people to represent you in a tight and cut-throat business. In a real sense, you are hiring them.
Once you feel you got enough out of the agent themselves, it's time to do a little research of your own. Try and "Google" the agent of the net. See what comes up. Sometimes you might be surprised. Quite often I find an agent's name attached to an actor bio for a high-profile production. That is usually a pretty good sign. On other occasions I have found the agent being slammed and accused of this, that and the other. Do take what you find with a pinch of salt. Some of the negative comments may be simply one or two angry members of the public venting their frustrations. Then again...
Finding nothing or very little does nothing either way. Maybe they're too new to have anything flow through to the net. Then again, if they have been around for a while, why is there little about?
Another good source of information are related discussion groups or forums. A very good example would be the Independent Theatre Association Web Site Theatre Australia. There have been several discussions on that site already that have focused on topics such Finding a Good Agent and some of the pitfalls to watch out for.
Again, you do need to exercise caution when reading these forums. They are open to everyone and anyone, which can lead to all sorts of misleading information. My rule of thumb is that if it sounds constructive them it usually is.
Lastly, talk to others in the business. Who is their agent? Would they recommend them?
The Agent's Fee
This is a hot issue and I wanted to deal with it independent of other things. In the UK, it is illegal for a casting agent to charge an application fee to prospective clients. Technically that is also true for Australia. Anyone who charges for simply signing onto the books should be very seriously questioned. Sometimes they may try to hide the fee in things like compulsory photo shoots, Workshops and so forth. This is not say that you should steer completely clear of these places, but just be aware that there are other agents out there who would work just as hard without the initial fee. Here is what the Alliance (MEAA) say about Payment.
Commission Under the Entertainment Industry Act 1989, an agent can only charge the following percentages of a performers salary as
commission: 1. for an engagement involving film, television or electronic media - 10%; 2. for live theatre, live musical or variety performances - 10% for any period up to five weeks and then 5% for any period after; 3. in all other cases - 10%.
If you are asked to pay for such things as Photo Shoots, Workshop Attendance, etc, then ask if they are optional. For example, if you already have a portfolio of Photos, would that suffice and negate the fee? Is workshop attendance optional to joining the Agency? If these things are requirements, then I would seriously question the motivation of the Agent in question. Are they seriously interesting in finding the next big thing, or are they more concerned about getting what they can out of you in the short-term? In this industry, you can't really afford to take such risks with an agent.
Remember this very important fact: You are 'hiring' them to look for work for you. Just like an employment agency. The main difference between an employment agency and a casting agency is that you will be constantly looking for performance work as opposed to that one dream job. A casting agent takes a percentage from any monies that you may earn and that's how you pay for their services and not through up-front payments. The more jobs you get and the bigger the job, the more they get paid also. It is then in their best interest to help you find work.
After all that exhaustive work, you should now feel you know enough to make your final choice. If it feels right to you, then do it. Go in, sign up, shake hands. They are now providing a service to you to find you work in your chosen field. Read any contract material very carefully for any previously missed details like commission amounts, their promise to you, etc, etc.
I would also strongly recommend that at this point (if you haven't already done so) you think about joining the Union. If for any reason the agent turns out to be a dud, the union can be there to give you some support. Without that membership, you will be on your own.
They have even provided a Sample Contract for you to follow which clearly outlines the expectations of you, the actor, and the agent.
That's the dream is it not? I have the talent. I have the Agent. Now I can wait for the offers. A Dream, nothing more.
It's now that the hard work begins. Remember I said you have hired the Agent? Think about it. You are the manager of your career, not them. Stay involved with the industry, read the mags, get the gossip, make contacts in those fields you are interested in and when you hear of new ventures, talk with your agent about getting into the mix. Get them to find out what they can and if they can submit your application.
Invite your agent reps to see your work. Even though you have asked them to find you work, what can they possibly tell future producers and directors about you? "Well their CV looks good." They need to see you in action. They love complimentary tickets. Be all too aware that you are not the only one they are working for. You will have to compete with all the other hopefuls on their books for a portion of their time.
If they run workshops or training services, go to them. Get them to notice you and think that you may be the next big thing for them. You need to keep reminding them that you exist and that you are keen, eager and willing to try anything.
Only once you have established yourself and producers are seeking you out will ever be able to even think of resting. Sadly by that point, you'll be working so much that you won't have the time.
Here's some things to think about when looking at getting an agent. Think it's reasonably comprehensive, so send the kiddliwinks this way :
WHAT IS AN AGENT?
An agent in the entertainment industry carries out activities on the behalf of a performer for financial benefit. The main role of an agent is to represent you in negotiations with employers about possible engagements. An agent is responsible for finding you work and negotiating the terms and conditions for that work.
HOW DO I GET AN AGENT?
If you have graduated from a recognized acting school, the school will have organised a final year production to showcase graduates to agents in the industry at large.
You will contact agents directly after graduation or at a time in your career that you believe you will require representation.
Equity can provide you with a list of contacts in the various states and territories. They also have a list of agents which are members of the Drama Agents Association - a national association of drama agents. It's members agree to work within a code of ethics devised by that association.
In approaching agents, you should send them a letter requesting an appointment with each agent. Include a resume and photo of yourself. You should follow up the letter with a telephone call. If you are appearing in a production, amateur or otherwise, send them a ticket to come and see you. Be prepared to do a lot of "door knocking"!
There a particular agents who deal in certain areas of the industry such as opera, film, television, dance and theatre. With a few exceptions, most agents will cover several areas. This is particularly so for theatre, film and television.
HOW CAN I CHOOSE AN AGENT?
In choosing an agent you need to take into account a number of considerations :
*the type of work you want to do *the size of the agency *the reputation of the agent *the agents personality - will you get on together?
WHAT DO I DISCUSS WITH MY AGENT?
It is important that when you engage an agent both of you clearly appreciate each others expectations about what you will get out of the relationship.
At the outset, you should discuss :
*what functions they will fufill *what shape your career will take *what are the types of roles you will be sent for *what happens when you want to leave the agency *if you have to pay them commission if you obtain work thru your own efforts *the field of activity in which the agent is authorized to represent you(e.g. only in live theatre, in Australia or overseas, etc.) *the period for which the agency will represent you *any obligations of the performer(that is, any obligations you have)
If you have any further queries about agents or the entertainment industry at large please contact the Media Entertainment and Arts Alliance in your capital city. The number can be found in the local white pages (federal branch number is 02 9333 0999).
Joining the MEAA, the body with which Equity, the performers union, is part of, opens the door to many benefits and networking opportunities that may be unfamiliar to you. At a reasonable cost, you will find yourself part of the community of actors who make up this great organization, like Cate Blanchett, Geoffrey Rush, Me and YOU!! Make sure you look into it - what have you got to lose?
Mick
Interview with an agent - preparation - suggestions welcomed
Hi Folks,
I am wondering what ones need to prepare for and expect in an interview with a potential agent. Also wondering what would be the top ten questions to ask in the interview. Any suggestions more than welcome.
Thanks,
Tina
Finding a Casting Agent according to the Australian UNION (MEAA)
It is a Hot Topic - How do I find an Agent, a Good one, a Legit one, one who wont rip me off...
It has been discussed at length across the internet in great detail by people with little, some and lot's of experience.
Attached is the Australian Actor's Unions thoughts on finding an agent. This is the official statement on the matter.
PDF Extracted from the Alliance Web site Feb 2010.
While the document states it is for NSW, the relevance is National.
Actors to Agent Contract
Find attached to this article a sample Actor to Agent Contract as supplied by the Media, Entertainment and Actors Alliance (MEAA) - Actors Equity section.
Agencies - previous discussions on certain companies
There are a number of threads on agencies that have become notorious and controversial. Please refer to them before starting a new one, as there is lots of information and opinions there. Also please read Labrug's great FAQ on what a good agent is, how to get one, and what to expect. (I would add that there are any number of threads on other agents, and you should do a search to find them; this lists only the big controversies that have been made over the years, and does not include ALL of the threads on the quality or background of different agents)
I would also add for our more naive or young members: please check any websites before signing up for them. There are a number of sites that appear to give you access to jobs, auditions, casting agents, and so forth, but there are plenty that both: take your money and do nothing; and present you with adult and/or suspicious content. Do your research first, before joining a website such the one discussed here:
These are just some of the threads... if you find more, please add them. But I implore you, let's not start any new discussions, if only because they are bound to be removed for 'libel' (see the blackbox thread if you don't believe me!).
Agents and Training - Comment from the Industry
I can't claim credit for this but I have been given permission to pass it on...
If you are looking to do a course and a school guarantees you an Agent during the run of the course, then you have to ask yourself why in this climate when work is so sparce would an Agent want to take on anyone who is in training without having seen their work first? That Agent's reputation is at stake. There are many Agents out there, but a good Agent will not take on an actor until they have seen the actor's work and feel totally secure in the fact that they can get work out there for you. So if a school can guarantee you an Agent, then you have to ask yourself a number of things:-
What kind of reputation does this Agent have?
Why is this Agent taking on anyone and everyone just because they have enrolled in a course?
Is this Agent being paid a commission by the school for doing so?
These are also questions you should ask when a school suggests only one particular photographer to take your headshots. Are there kickbacks in place?
There are many Charlatans out there, so called 'professionals', professing to have what it takes to get you a job - offering actors quick fixes for showreels and quick roads to success...but please be warned! There are NO quick fixes. Anyone who offers you advice for a price...or a chance to be seen by Casting Consultants and Directors when you're not ready...or advice and suggestions on how to make it in America, or offer you a showreel without taking into consideration what you have to lose...then they are exploiting you. Casting Consultants and Directors who are being paid for their expertise can enlighten you on how THEY work and what THEY want, but THEY cannot solve your acting problems or advise you on how to fix things, or improve your performance. So basically, they can't teach you to act.
Just remember, exposure doesn't always give you better opportunities...but better training does.
Cheers Screenwise
Agents VS Consultants - The Difference
Disclaimer : This Blog has been written with a particular WA flavour, however other readers may find some of the information useful.
For those of you how may not know, there are two types of Casting Services;
1. Casting Agents
Casting Agents represent the 'Actor'. It is through an agent that an actor will most likely learn of new projects and audition prospects. As long as the Agent has the right contacts, and any legit one should, they will be notified through either Casting Consultants or Production Companies.
2. Casting Consultants
Effectively, these are Casting Agents for the Production Companies. They are regularly used to act as a go between for the PC, contacting the local Casting Agencies, Screening possible talent and then consulting with the Director to cull the list down.
These Consultants do not represent actors except through a third-party Agency, or Manager.
JC Casting in particular has a very useful resource for Perth Talent which I think everyone should check out. http://www.jccasting.com.au/industry_info.htm * Please note that JC Casting does not endore agents listed through this link
Applying for an agent... definition of "experience"?
Hello Everyone,
This is not your usual "how do you get an agent post" I have a more specific inquiry. I'm 18 and about to graduate high school in December.
I've done alot of research into the type of agent that I'd like (I want to work in film preferably), following the guide you offer at this website. So I called them up and asked how to be considered to be represented by them.
However all of them said I need more experience to be take on board.
So my question is, what kind of experience are they looking for? I want to do a bachelor of music, so I can't go to acting school. I've been extras, been in the Logies... but do they want someone who has already had a leading role on TV? If so, how is the average teenager supposed to secure that kind of role without an agent to begin with.
Any help would be appreciated,
~Ayane
Does anyone know if you have more than one casting agency?
Just curious if you can be in more than one casting agencies books?
equity for Australian actors and agents update letter
1 August 2008
Dear Friends,
Thank you for your supporting emails and the generous sharing of your experiences and advise. I wanted to update you as to what has progressed since my first email. First, I’ll summarize some of the fundamental changes the casting process needs to undergo so as to give a fair go to more Australian actors and agents.
1. Casting briefs for feature films, TV productions, stage productions and TV commercials must be made available to ALL talent agencies in the city (or cities) where the casting will be held. The casting process must be made transparent.
2. All professional actors (MEAA members, subscribers to Showcast and At2, etc.) must have the opportunity to audition for all principal roles in film, TV and stage projects. (MEAA’s Simon Whipp says in response to my letter, “it is only fair that all actors who are paying for the casting tools – Showcast and AT2, have the right to be considered for all roles being cast. By this I would mean that we do not agree with a practice which would exclude certain agents or performers from briefing… At the moment, effectively, those performers whose agents are not receiving all briefs are subsidizing those who do. This is simply not fair.”
Therefore, each talent agency in the city where the casting is being held should have the right to submit for all the roles in a project, including the principal ones. More importantly, a percentage (to be decided) of the submitted actors from each agency must be auditioned for the principal roles. Of course, each production needs “stars” to make the project attractive in the marketplace, but there are always other principal roles that require not so much “names” but excellent actors. Each talent agency should have at least a minimum percentage of actors seen for a production.
3. Screen Australia, Australia Council for the Arts and other federal and state funding bodies should put into their funding applications the requirements stated above in items 1 and 3. In my discussions with several casting directors, they have sited the lack of time and resources to see more actors. If the funding bodies are able to provide additional funding support for a broader casting initiative and make it a mandatory requirement in the granting of funding, then the casting directors will have the directive, initiative and resources to see more actors.
Screen Australia’s Executive Director (Strategy and Operations) Fiona Cameron has responded to my letter in saying, “You raise some very interesting and challenging matters. All Screen Australia’s programs and services are under review for 2009 and beyond and we will certainly take your views into consideration.” I have also received support form Jullian Skinner MP (NSW Shadow Minister for the Arts). She says, “The suggestion you raise for a more transparent and open system of casting, and for an increase in NSW Government Funding have been noted. Please rest assured that the NSW Liberal/National Coalition will consider your suggestions and ideas in our future policy development process.”
4. Our industry should push for “colour blind casting.” Our main Australia TV series, TV shows and feature films still portray an overwhelmingly monoculture society. MEAA’s Simon Whipp, in his response to my letter, says “We would agree that there is insufficient representation of non-anglo Australia in television drama productions. We are actually hosting a summit on Australian content later in the year and this is one of the issues which will be discussed.”
He also brought to my attention the 22/7/08 article in Britain’s Courier Mail entitled, “Neighbours is “too white.” It cites a report by the Equality and Human Rights Commission chairman Trevor Philips which says that many of Britian’s major broadcasters remained ‘hideously white’ when choosing programs. Neighbours, which is screened on the Five network, and the BBC comedy The Vicar of Dibley were singled out for being “all white.” This should be a wake-up call for the producers of Australian dramas that if they are hoping to sell their product on the current world market, a more realistic cultural representation of Australian society is urgently and desperately needed to be accepted.
5. The implementation and monitoring of the above initiatives should be responsibility of a specific independent government body or of an entertainment industry ombudsman who has the power to effectively deal with any injustices and complaints within the entertainment industry.
Thus far, I have continued to receive emails of encouragement from talent agents around Australia. From official quarters, I have thus far received supportive responses from the following:
1. MEAA (Simon Whipp, Equity Director)
2. Screen Australia (Fiona Cameron, Executive Director, Strategy and Operations, on behalf of Chairman Glen Boreham)
3. Julian Skinner MP (NSW Shadow Minister for the Arts, on behalf of NSW Leader of the Opposition, Mr. Barry O’Farrell MP)
I look forward to arranging meetings with MEAA, Screen Australia and Arts Council of Australia and other governmental agencies to discuss their policies towards the entertainment industry. I’ll keep you informed of developments and hope you can come to the meetings that will be arranged.
Sincerely,
Jon-Claire Lee
Sydney Talent Company
Email: sydneytalentco@tpg.com.au
equity for Australian actors and agents
15 July 2008
To EVERYONE It May Concern:
I am the director of a small talent agency, the Sydney Talent Company, which has been in operation since 1983. We have started and developed the careers of numerous successful Australian actors. This year we lost two of our young promising actors to the so-called major talent agencies. "So what?," you say, actors move from one agency to another as a matter of course. As a talent agent, director and actor, I have personally nurtured, trained, and guided these two actors for almost ten years. Then, one day, I get a visit or an email from them saying they have been asked to join a major agency. They are most thankful to me for all the years of help I have given them, but they feel they needed to go "to the next step."
To all the talent agencies' directors out there who know what I mean, I want to say that I am mad as hell, that this is "HIGHWAY ROBBERY,” and there must be something we can do about this situation. The casting system is supposed to provide opportunities for all talented artists, but it is not working because it is running in favour of the minority of actors represented by the "majors."
When our actors move away from us to the "majors," I've discovered that many times they move sideways in their careers instead of upwards. I have seen my actors grow, I know what their strengths and weaknesses are, and I know what parts they are best suited for. They are growing actors, they are friends, and, in the case of the two actors who recently left my agency, there were "family."
To all the professional actors who are frustrated that you don't even get a chance to audition for a role you and your agent feels you are perfect for because THE BRIEF WAS NOT MADE AVAILABLE TO AGENTS IN GENERAL, I ask the question, "Is the current system fair? Over 95 percent of our actors are not working in the acting industry. Less then 5 percent are working. Most of this 5 percent are most probably the actors the major agencies are keeping employed at the expense of the 95 percent not being employed. This vast majority is not even being considered for any acting role or for very few acting opportunities at best. "Is it a healthy system under which our industry can grow and prosper?"
Even though I am the first to admit that there is no equity in life, especially in the entertainment industry, I think there are ways to make the playing field fairer for all talent agencies and professional actors. I am not going moan and groan any more, and say, `That's the way it is." I propose that the entertainment industry move "to the next step" in providing “a fair go" for all professional actors. Suggestions include the following:
1. Casting briefs for feature films, TV projects, stage productions and TV commercials should be made available to all talent agencies within the city where the casting is to be held. Way too often we don't receive the full briefs to major films or TV series castings; we only receive the "left over roles" to suggest for.
2. All professional actors (MEAA members) should have the right to audition for all major roles in a feature film, TV series, stage work or TV commercial. For each project, each talent agency should be entitled to SUBMIT AT LEAST ONE ACTOR FOR A LEADING ROLE IN THE PROJECT, AND THIS ACTOR MUST BE AUDITIONED EQUALLY ALONG WITH ALL OTHER ACTORS CONSIDERED FOR THE PROJECT. This proposal should apply especially to feature films, TV series and stage work. Most casting directors of TV commercials already see many actors from most talent agencies.
3. All major governmental arts funding agencies/departments should insist that as a prerequisite for funding of any project, CASTING OPPORTUNITIES MUST BE PROVIDED TO ALL TALENT AGENCIES AND TO ALL MEAA MEMBER ACTORS in the city or state where casting Is to be held.
4. Our industry should move towards "colour blind casting." We are about 20 years behind the USA in the portrayal of how culturally diverse modern society has become. Our major Australian TV series, TV shows and feature films still portray an overwhelmingly monoculture society. For example, is it possible to cast an Asian, an African, a South American or any other non anglo actor as just a regular character on Home and Away or as a continuing doctor on All Saints? Too farfetched? The few roles the non anglo actors to do get are still "ethnic specific," meaning roles are still written according to ethnic stereotypes most of the time.
5. The implementation and the monitoring of the proposed fair casting practices within the entertainment industry should be the responsibility of a specific Independent government body, or should be the responsibility of governmental funding bodies working in conjunction with the MEAA. An entertainment industry “ombudsman” may be necessary so that any Individual or group working In the Industry can present their complaints or grievances to a fair and impartial party who has the power to act on the concerns.
It is time for the Federal Government, the State Government, the Governmental Arts Funding Bodies, the actors' equity MEAA, the casting directors, the talent agencies and actors themselves get together to fight for a more equitable working environment for all involved in the entertainment Industry. THE FACT THAT THE CASTING OF MAJOR FILM, TV AND STAGE PROJECTS IS NOT OPEN AND TRANSPARENT, AND DOES NOT ALLOW THE OPPORTUNITY OF PARTICIPATION OF ALL PROFESSIONAL ACTORS IS NOT ACCEPTABLE. With positive changes to the way casting is done in Australia, I believe the result will be the Infusion of more creative acting talent into the industry, the raising of the artistic standard in every media, and the creation of much more world-cass Australian product for the local and international markets.
One of my favourite lines in film history is actor Peter Finch's line from the Paddy Chayefski 1976 feature film Network, in which his aging news presenter character Howard Beale is fed up with all the B.S. he has to spoon feed with a smile to the national audience every night. One rainy evening, he finally opens a window of his apartment and shouts to the world, 'I'm mad as hell and I'm not going to take it anymore." His cry of desperation became a national rallying call for action.
I look forward to your responses and suggestions on positive action to bring more equality to the casting process in the Australian entertainment industry.
Sincerely,
Jon-Claire Lee
Sydney Talent Cornpany
Email: sydneytalentco@tpg.com.au
cc:
The Mon. Kevin Rudd MP
The Hon. Peter Garrett AM MP (Minister for the Arts)
The Mon, Brendan Nelson MP
The Hon. Sharman Stone MP (Shadow Minister for the Arts)
Mr. Morris Iemma MP
Mr. Frank Sartor MP (Minister for the Arts)
Mr. Berry OM Farrell MP
Ms. Juillan Skinner MP (Shadow Minister for the Arts)
Mr. James Strong AO (Chairman, Australia Council for the Arts)
Me. Kathy Keele (Chief Executive Officer, Australia Council for the Arts)
Mr. Ben Stout (Executive Officer, Arts Funding, Australia Council for the Arts)
Mr. Glen Boreham (Chairman, Screen Australia)
Mr. Christopher Warren (Federal Secretary, MEAA)
Mr. Simon Whipp (Director of Equity Section, MEAA)
Australian and New Zealand Casting Directors
Australian and New Zealand Talent Agents
Fees, why NOT to pay them.
Clearing out a few folders of junk and found this older document. While time has passed, the message is still pertinent.
Survey reveals ‘shocking’ fee results
Three-quarters of people paying up-front fees to agents in the entertainment industry receive no work from them in the following 12 months and in more than 90% of cases find that they fail to live up to expectations, according to The Stage’s nationwide survey, completed this week.
Our research, prompted by the Department for Trade and Industry’s warning that some agencies are using hard-sell tactics to persuade people to pay high fees for the provision of ‘services’ which never materialise, also reveals cases of performers being charged up to £2,000 for the privilege of having their details included in alleged casting directories or for compulsory photographic services.
When up-front fees are charged, on average, aspiring actors, extras and models are asked to pay £104 when they join up with an agency but only see two days’ work a year in return for their investment.
Up-front fees - those charged in advance of an agency finding performers work - were banned in April 2004.
The only exceptions are where the charge is a “reasonable” estimate of the cost of producing a publication such as a casting book or where such a book is the only work-finding service provided.
Our survey, which was completed by more than 700 Stage readers, reveals almost half are still being charged a fee when they join an agency and that 63% of those are told this is purely for registration purposes - a clear breach of the law.
Where a charge has been made for inclusion in a directory, the vast majority of people have also been told that this charge is compulsory, which goes against industry codes of practice.
Some 36% of people were also asked to pay even more money for photographic services provided by the agency, with the majority - 64% - saying they were illegally told that they must use such services in order to join up.
Broadcasting union Bectu described the results as “shocking”. National official Spencer MacDonald said: “We thought we knew the situation was tough out there but we never dreamt it was as bad as this, with three-quarters of people getting no work at all.
“We weren’t aware of the scale of the problem of people being charged money.”
He added that the DTI’s proposed solution of introducing a “cooling-off” period, during which people could demand their money back if they believe they have been scammed by a bogus agent, was unlikely to fully address the problem.
“We need to look at the charges themselves and see whether they need capping or abolishing completely,” he said.
“There is no magical answer but we are pleased the government has signalled they want a discussion about this and the results of this survey will add weight to the arguments the unions will be putting forward.”
Matt Payton, Equity’s research and parliamentary officer, said it was particularly worrying that 61% of respondents were unaware of the law on up-front fees and that three out of four did not know who to go to for help if they felt they had been ripped off.
The vast majority had not heard of The Agents’ Association, National Association of Supporting Artistes Agents, National Entertainment Agents’ Council or Personal Managers’ Association.
“There also probably needs to be a more concentrated effort to ensure agents are more aware of their responsibilities under the law,” he said.
For the time being, the advice from NASAA and others is to avoid agencies that demand money before securing you employment.
“Most legitimate agencies are happy to take their fee out of your first day’s work,” says Sarah Dickinson, NASAA chair. “My advice is not to pay fees up front.”
What the DTI says
“We are concerned to learn that people are apparently being charged illegal fees for registering and we are grateful for The Stage’s help in responding to our call for information on this very important issue.
“We are also concerned about hard-selling tactics to persuade would-be performers to pay high fees for services which don’t materialise and this is an area we have promised to tackle in our Success at Work paper.
“If any person feels they have been charged an illegal fee or that an agency has behaved improperly they should contact the Employment Agency Standards Inspectorate on 0845 955 5105.”
Reader’s experiences
“They boasted that they had provided roles for the BBC, Sky, ITV and all sorts of programmes. They stated that there were no ‘up-front fees’ but more of a membership fee, so in order to be represented it would cost you in the region of £199 for a year. It stated that once you parted with your money you would never look back as you would be inundated with offers. It also gave photos and success stories of normal everyday people who were on their way to ‘stardom’ through them, although I’ve never heard of them before or since.” - Vikki Slater
“I responded to an advert to go to a hotel to register to be a model/TV extra. I was told I was one of the lucky ones and was accepted, so I paid them £159 to take photos and introduce me to three other agencies, which I also had to pay separately to join, costing a total of nearly £500. I never had any work from them. I have taken the matter to the DTI and Trading Standards, as I felt I had been ripped off, but to no avail as work isn’t guaranteed and no law has been breached.” - SA
“I was taken on by an agency… within a couple of days they sent me to get a showreel done, as they said they had three castings for me. I went to get one done - this was organised by the agency. I paid £200 for the session and £45 for a copy for myself. I did not receive a copy, nor hear from the agency again. I called and left a lot of messages for the agency and also the man who did the showreel but nothing. I told no-one about this as I was embarrassed and thought no one would help as I had agreed to it all.” - Anon
“It annoys me that agencies call [up-front fees] a different name and they get away with it. More and more companies ask you to pay, even the traditional ones are doing it now. I don’t seem to get much work as I now refuse to pay them. It’s Catch 22.” - CN
“I was ‘spotted’ on Oxford Street by a model scout claiming he could get me lots of work. He took a photo and then told me to go to the website to check it out. I received a phone call the following day and he said he had work for me already and would I be interested. He said I needed to pay £100 up-front and then the work would come flooding.” - Christina Cooke
“I paid over £100 in representation fees, yet the agency has had no contact with me since then. I am doubtful that I will ever hear from them again.” - Anon
“In spite of the recent law, some casting agencies seem to justify up-front fees for photos and other costs, without the guarantee of any work. I responded to a local advertisement for actors and extras, went along to a hotel where there were numerous young girls prepared to fork out the required expenses to get on the agency’s books, unaware this was not the right practice.” - Anon
“It would seem that only by licensing entertainment agents, as happened in the past, can both the performer and the law be protected. The culture of celebrity is giving rise to greater exploitation of those seeking a brush with fame.” - Anon
“It was two months before my photo and details were put onto the website, and only because I chased them about it. Couldn’t get hold of them on the phone and in response to my polite e-mail questioning why this was the case, having paid them already, I received many unbelievably rude e-mails back. When I finally did speak to someone on the phone and demanded my money back they refused but at the mention that I would be taking this matter to the TV programme Watchdog, my photo miraculously appeared on the website the very next day. I am so pleased that these sort of crimes are now being recognised and action is being taken by you. It’s about time these crooks were shown for what they are. Thank you.” - CCH
“Performers are being exploited all the time as they are vulnerable and desperate for more work. There needs to be more education about authentic agencies and bad agencies in all training colleges, as many recent graduates are often the target for scams. The internet has sparked many new problems of control, including new scams on the web, for example ‘pay just £150 and we’ll make you a website that loads of people with view’, or ‘pay just £200 and we’ll shoot a showreel and edit it for you and it will get you loads of work’. These tools are useful but only if the actual material used is of a very high quality.” - MAS
Paying fees to join an agency - adults & children
Have just been reading a lot of old threads about good and bad agents and paying upfront fees etc and as an agent myself I thought I'd post in and clarify a few things.
Yes there are good and bad agents and I'm sure there are already posts about what to look for in an agent. The problem that many of you are going to find is that a "good" agent is not going to take a chance on someone who has little or no experience or who has not completed three years training at an accredited institution. Some actors do manage to create a career out of sheer determination and undertaking lots of short courses - but it is not easy.
What many performers don't seem to understand is that an agent wants to make money out of the performers on their books. They don't want people sitting there not working - nor do they want to waste time promoting performers who are not going to get work or who are going to require a huge investment of time and energy before they are employable. Of course, this is why the dodgy agencies charge fees - that is how they make their money.
Let me say this once and for all: If you are an ADULT actor and an agency wants to charge you upfront fees - including expensive photo shoots or 'promotional tools' - don't do it. You are better off, if you can’t find a “good” agent to take you on, going freelance. If your agent asks you to join sites such as AT2 or Showcast - they are legitimate casting sites used by most casting agents and you subscribe directly to them - that is not the same thing.
If however you are a child performer, the situation is very different. ALL child agencies charge fees and here is why:
1. They organize photo-shoots for the kids - adult actors are expected to do this themselves.
2. They organize other promotional materials including head-sheet books, website databases etc
3. They undertake all promotion of their artists to casting agents - adult actors are expected to send out their own head-shots and CVs and do a lot of leg-work themselves.
4. Child performers are paid between 50% and 75% of what adult performers are paid - and often much less because they are not seen as "professional" performers.
5. Most child performers are untried and it may take a few years before they gain enough experience and confidence to work reasonably consistently - or to discover that they are really not cut out for the industry at all. Some adult agencies do take on child performers but usually only those who have already proved themselves. Children's agents could not survive without charging up-front fees because there is no way to tell which children will mature into performers and which will fall by the wayside.
Here is how you tell the dodgy children's agents from the good ones:
First, does your child want to be an actor or a model? If they want to be an actor take them to a drama agency. Drama agencies don't do catalogue or catwalk work - they do do television commercials, TV drama and film. Modelling agencies often won't get briefs for film and TV roles, just commercials and photographic work.
Second, if the agency has more than say 200 kids on its books - it is making money out of the up-front fees rather than the commission it receives on work it finds for the kids. Don't go there. There is no incentive for them to find your child work as they have already made their money out of you. If they charge more than a few hundred dollars a year - including your photo-shoot, website listings, head-sheet book etc - don't go there.
I hope that this will help clarify this question for everyone.
Questions about agents for school shows
Perhaps agents 'guru' Labrug can answer this, but I'm sure some or many of you also know the answer:
I'm looking at signing up with a local agent that specifically deals with organising tours of shows to schools. Although I won't be touring shows, but offering puppetry building workshops. I know of a number of agents who do this, so finding one isn't my concern.
What I'm wondering is, does anyone know how to apply to one of these agents? I'm guessing it works similarly to getting a normal agent - sending in a CV and relevant info - but do you need to already have experience touring to schools (I have experience doing puppetry workshops, but no experience within schools as yet), a reel showing an actual workshop... do you have to invite the agent along to one so that they can see what you do?
What's the best approach?
Any advice would be very welcome, as I've never dealt with this agent stuff before :)
Talent Agencies Don't "advertise"
I quite regularly get postings from a number of Job Web sites just so that that I can keep an eye on the job market for both personal and non-personal reasons. Quite often, I will see a posting from one of two (or three) "casting Agencies" calling for actors... Incidentally, these "Agencies" have been thoroughly examined and found wanting within the electronic halls of this very site, so I usually pay them little mind apart from saying a prayer that no-one falls for it but knowing someone might...
Today, I find a new "agent" posting calls for actors, claiming huge bucks if you join them. I will not mention their name and nor will I say where I saw it for that is not the point of this Blog. What I will say is that with a little judicious caution and research, you can quickly find a lot about an organisation proposing to legitimate.
Firstly. TALENT AGENTS DO NOT RECRUIT!!! Cannot stress this enough. Proper casting agents very rarely (if ever) advertise with slogans like "Extras required for film and TV earn up to $1500PW" or "FILM & TV Productions Require Actors, Extras, Models". They are Recruiting to get people onto their books? Not likely. They are more likely hoping you will be willing to part with some of your money on a dream. $200 from 20 people is $4000, and that's just for starters.
With so many hopefuls, wannabes and keenly passionate individuals, Legitimate agents do not need to recruit. More often than not, they are turning people away as their "books are full." These rather tempting slogans are simply that, misleading temptations, no better than SPAM! Treat any such posting in an electronic medium with extreme prejudice.
ADDED: 2012/Nov/06 Top five things to look for
Bad grammar and spelling, as in Nigerian SCAM like stuff. Read as CON.
Generic Email Address. When the contact uses a bigpond email address, for a casting agency, it's not a sure sign of dodginess but it ain't good. I'm a poor actor and I have a bigpond email! What's that say about the agent.
The Web Site is developed through Wix, or similar. A free, do-it-yourself web site? Clearly when you see on the cheap stuff like this, then you question either the motives or the experience.
Grandiose promises without proof. It real easy to promise, or even "guarantee!", big bucks, great gigs and stardom, but can they back it up, and for every applicant that they hope to get?
And the TOP thing to look for: Advertising on a general jobs web site like SEEK. This should be a dead give away.
Second. TALENT AGENTS DO NOT STREET CAST!!! By this I mean those "agents" that approach you in the street and spout a whole pile of patronising compliments and then ask you to join their agency. There are two kinds of people that do this - Perverts and Con-artists. By preying on the unsuspecting and hopeful ambitions of some random person, they lure them into something they do not expect. Let's face it, deep down, most of us want to be on TV...
If you are approached in such a manner, unless you are presented with VERY VERY VERY convincing credentials, walk away. Agents may approach you after having seen a production or a video clip that you were in, but if they do, it will be with far more professionalism than simply walking up to you out of the blue.
ADDED 9 June 2010: TALENT AGENCIES DO NOT COLD CALL!!! By this I mean they send you an email or call you, quite out of the blue, saying all warm-fuzzy things like "you're just what we are looking for" etc. If you fall for it, then you are what they are looking for. Legit Agents (or if you like Managers) will approach you through more official channels and no singular casting agent can rightly claim to have the advantage over any other agent. Under Australian Federal Union requirements, all Casting Agents have equal rights to all casting details and calls nation-wide.
Third. DO RESEARCH!!! Heard about a certain Talent Agent? Maybe saw an interesting posting somewhere? Could be legit? Sounds convincing? Then DO NOT AGREE TO ANYTHING until you have looked them up. (Note: if by asking for time to "think" they get agitated or even more pushy, that's a good sign to not bother at all.)
All companies need to be registered through the Australian (or relevant) business directory. In Australia we have http://www.search.asic.gov.au/ where you can do searches by ABN, ACN or Company Name. While this does not give you things like Company profiles, it can tell you some very important information about the company itself.
For example, the new company that I mentioned earlier is recruiting in Perth, however there is no company registered in Perth by that name. There are two close matches in different Eastern State locations. The information on both is extremely scant, and one looks like it is a new submission currently being reviewed. That doesn't leave a good impression.
Keep in mind that anyone can register a Business for a small fee so registration is no indication of honesty. There are minimal security checks performed - minimal in the fact that they are very much dependant on the often minimal details provided. However, the more legit a business is, the more willing they will be to provide details of their company.
In addition to this, search through the Internet for any comments or web sites that refer to the company. In my current case, there is nothing apart from the Job Pages that brought them to my attention. Again, a very bad sign.
Four. DON'T BELIEVE THE HYPE!!! True Agents don't need Hype to attract clients. They do well enough through word of mouth - Actors currently on their books telling friends - and other more silent methods. When you hear claims such as;
"You will be registered with agencies free of charge that cast for shows like: Underbelly City Homicide Neighbors <-note the mis-spelling You will also be put forward for castings with all the major films being shot in Australia." - Taken from a recent posting 05/10/2009
Just remember that ALL AGENTS HAVE (or should have) EQUAL ACCESS TO ALL CASTING CALLS! So it doesn't matter who you are with, no agency should have an unfair advantage over another.
Five. KNOW THE DIFFERENCE!!! There are Casting Agents and there are Casting Consultants. Agents represent the Actors and Consultants represent Producers. The Producer/Director requests a cast, the Consultant confers with the Agents and the Agents contact the Actors.
I say this specifically as occasionally Casting Consultants will go to the general public. If they are not getting what they want from the agents, then they will make a more general request. However, these are not done through Job Sites and the like. Here I make the example of Jenni Cohen, one of two Casting Consultants in Perth, whom has posted legitimate casting requests on this very web-site. The difference with these postings are that they are very specific, descriptive and without all the Hype and Fanfare. They are specific opportunities not a general call for hopeful applicants.
Summary. Having an understanding of the nature of the business is a key aspect to not getting conned by it. Watch for the tricks and scam that are frequently pulled on so many unsuspecting individuals throughout the world. Acting is a profession that attracts the imagination of thousands of dreamers, and hundreds of schemers.
For more about Agents and how to find one, check here...
Acting Jobs Online - Do not be fooled
I regularly get Job Posts from a variety of On-line Career Services for various types of work which I then forward on to others and this site. This covers CASTING Calls or Agent Recruitment Drives.
I have yet to see a Casting Call or Recruitment Drive posted on-line that actually sounded legit!
You get plenty of Journos, Copywriters, Editors, Club Trivia Hosts, etc, etc that can all be confirmed very easily with the details provided in the ad itself. Then there is the occasional WANTED: Extras, Actors, Models, Commercial Faces & Promotional Staff type posts claiming all sorts of very impressive sounding details. (There is about 2 or three that make the regular rounds.)
Up until some time back, these very familiar posts all included details like Who was asking, and even provided contact details. Then after a spate of poor publicity, these still very familiar posts started appearing "anonymously," i.e. Without reference to anything that can be researched - Company Name, Contact Name, so forth.
Firstly, ACTING CASTING AGENCIES DO NOT ADVERTISE as a general rule. They don't need to. Most have a limited number of people they can have on their "books" and there are plenty of willing people out there to fill them. Why spend money advertsing when you have a constant stream of people coming in the door without it?
Second, when an on-line add of ANY kind is provided without company details or a contact name, or anything that can be researched, I have to ask what are they hiding? I find it particularly interesting that these adds that are soooo very similar to earlier versions which included these details now suddenly do not. I'll let you consider the reasons why this might be.
Third, these Calls are made with odd recurrence which makes it appear that they are either finding it hard to keep people on their books for more than a month or two (a bad sign in itself), or are simply not interested in actually finding you work, but getting numbers up. The question then begs, why get their numbers up? Well, if they are charging you upfront fees or mandatory expenses to "get on their books" then the more people they get paying, the more money they are making. Who needs to find you guys work when there's someone else willing to pay money for a dream?
A proper agent does not need to recruit, nor do they charge up-front fees like a club membership. Casting Agencies are like a temping, contract or job search agency. They find work for you and take a cut of your earnings as a finders fee. You do not pay anything up-front to these guys, and neither should you for a casting agent. This does not include legitimate additional services provided by the agent, but these should be optional. Things like a Photographer.
I have mentioned all this before and will from time to time repost to remind people of this. Tell your friends or anyone you meet who is also looking for employment as a performer.
Remember, research or the ability to research is your best weapon in avoiding scams and cons. The rule of Email Spam is : When in doubt, throw it out. Very good advice in this case also.
Disclaimer: I do not include Casting Consultants in this evaluation whom may choose to post to public forums such as this one. Indeed I am personally gratified to see posts from one particular Perth Based Consultant whom recently used a large number of local Theatre Australia patrons in the filming of "Cloudstreet."
Union Membership
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Audience
According to the Australian Bureau of Statistics approximately 18% of Australians attended a theatre performance in the 12 months prior to an interview in 2002.
Best places to look for professional theatre auditions and tech/admin work
This post last updated 8 June 2011
EDIT: I used to host a list of links at my website for looking for Aussie work. The list had not been updated since 2006 and is likely about as useful as anything would be after five years. This list is now linked below at Theatre Australia (way at the bottom of the post). I hope it contains something useful; if not, please do your own legwork and update it yourself.
I used this list of links to scour the net for Australian theatre work for more than four years, and to produce content for my (now defunct) theatre publication. They cover a range of topics, as well as performance styles (circus, drama, improv, MT, etc.)
There's a whole bunch of links listed in the 'job hunting' category, divided by state. Those that are in the 'job hunting' category, but not divided by state, cover the whole country. There's also a small list of agents, plus a lot of unsorted links. There are also plenty of places to look for tech work, including a range of tech sites, production companies, theatre companies, and councils local to your area. There are additionally links for grants, funding, and other peak bodies, courses, etc.
I can recommend the following sites for ALL cities: Arts Hub Australia, QuietOnSet (both paid subscription, but well worth the money. You can check out some of the jobs available from the Arts Hub site in the news section on this site). These are probably the best two sites for job hunting. Arts Connect is another good one, which is more for calls for artists (ie. voluntary stuff), but it's for free.
The site mentioned as 'The Program' has been gone since early '08 The Program is a government run site, which doesn't often has auditions, but is aimed at youth, and is an excellent resource for grants, funding, and other events.
Many of the professional companies advertise roles on their own sites as well, so even though it's time consuming to go through them, you will find it's a much more affordable way of finding news of jobs than to sign up with the paid-subscription sites (not a guarantee of finding out about all of the jobs out there, but a good start).
You should also sign up with the many free online newsletters that are around, or regularly read arts/theatre/screen news sites. They are a wealth of information, and if you find out that a show is being produced, or someone's gotten a grant, you can then consider contacting the relevant people and seeing if there's any auditions or jobs going.
Local newspapers are also good, especially The Age's A2/Saturday Arts section. For the most part, jobs advertised will be for amateur groups, profit-share, or for council jobs.
For the most part, auditions aren't advertised, so your best bet is to get an agent. However, the sites listed above will help you to do your own search. The same goes with tech work, and a good way to get in the door is to do voluntary work with a local group, venue, festival, or performance. Signing up with a large crew-based production company (like Showtech in Melbourne) is a good way to start.
Please note: the links do NOT cover amateur groups, only professional companies, and ONLY for theatre. For a screen auditions site, try Screen Hub. For amateur auditions, check the auditions page on this site, or contact the companies listed here in the companies section. Some links may also be out of date.
While there is no easy way to learn what a dodgy advertisement looks like (it's mostly a gut instinct), here's some tips:
A good ad will have some verifiable information about the advertiser, the work available, and some basic details about who to contact and whether or not it is paid work.
Do your research: if you haven't heard about the person or company before, look them up. Ask around. If you feel wary about the job/advertisement/person, then DON'T apply. If it's too good to be true, it probably is, and there will always be another role just around the corner. If you are ever unsure about attending an interview, take someone else with you - and NEVER attend an interview at someone's home, unless they are already friend's of yours. Additionally, you can always call the advertiser and ask them some questions - if you feel comfortable with the answers, go ahead with an application. Interviews/auditions are a two-way street: don't forget that you have the right to say no to any job offer if you're uncomfortable.
Do a google for the text of the advertisement. Does it come up on many other sites? If not, you may want to ask yourself why.
Worst places to look
For further reading on how to judge a good website from a bad one, read this:
This is only a basic guide to finding work on the net. Any more advice can be given if requested, and feel free to add and extend to this post.
(written by Na)
Audition websites - how to spot the dodgy ones and what you need to know about payments
So you've found a website which lists auditions and you sign up to it - how do you know the site isn't dodgy? How do you decide when to pay a fee to access info or not? Here's some tips:
Disclaimer: This advice has been provided in good faith. However you should undertake your own research and take all care before acting or not acting on any of this information. Caveat emptor - buyer beware!
DON'T use sites like Seek.com, or other non-arts sites to look for work. They rarely provide audition or jobs information (except perhaps, arts admin work for local councils), and usually when they do, they are for the more dodgy roles of 'adult dancer'.
Sites like Arts Hub, QuietOnSet, or Aussietheatre.com live and breath researching jobs for the arts, which means they publish 99% of the advertised arts jobs out there. Seek.com, etc. don't. Those first three are also run by and for theatre people, which means you're more likely to find useful info and know that is run by people who are genuinely interested in helping, rather than making money off of you.
DON'T USE AMERICAN SITES: They will never have anything for Aussies, and many of them are scams. (List of scam sites below)
DON'T use sites that are laden with Google ads, have no contact or 'about' info for the creators. If there is no physical address or info that you can research independently (ie. do a Google and find a CEO's name, reference, or credit on another website) and confirm, then it is most likely going to be dodgy and/or a waste of your time. Never hand over money to such websites Make sure they have terms and conditions and privacy policies (read more on that below)
These sites are usually created by people who want to earn advertising money, and rarely offer good, reliable, up-to-date information. If you don't know who runs the site, you don't know whether or not they have a background or interest in the arts, which is crucial to them being able to find relevant info and jobs for Australian theatre people. If you want to find out who owns a website, use www.dnsstuff.com and do a DNS check (ie. in the DNS check field, write the URL of the site. They will automatically search for who owns the site). If the site is a .com.au, the owner legally must present an Australian Business Number when registering the domain name. This means that you can do a DNS check and then look up the ABN on the government's Business website; and make a complaint to the relevant authorities if necessary.
An example of doing your research may turn up some interesting information about the site:
DON'T use sites that aren't updated often. DON'T use sites that link off to other sites (like Careerone, etc.), since you may as well just use the original site where the info came from.
Occasionally, members do post ads for such sites. Here I will create a list of threads that discuss sites to AVOID:
Craigslist - although there is an Aussie section, this site is not used by Australian theatre people, and there is a high risk of scams. Better to avoid it.
ExploreTalent.com, ONESOURCETALENT.COM, Talenthunter, Instantcast.com and TALENT6.COM all have reports of being scams where you are asked to make payments for absolutely useless information, and creation of profile pages which could be better done by signing up for AT2 or something similar. (Some of these sites may only be advertised to American teens in America, and may not necessarily be easily found by Aussies. However, I add them here in order to inform people just in case)
While there is no easy way to learn what a dodgy site looks like (it's mostly a gut instinct), here's some tips:
A good site will have some verifiable information about the owners/publishers, their physical address or at the very least an email address to contact. A web form that you fill out and no contact info suggests there's no one looking after the website. A good site will have up-to-date info, will not be overly laden with Google ads, and will not ask for unusual personal info (like how much money you make). Be wary of any site where you are randomly asked to attend an audition or given a role when you have not applied for it. A good website will have Terms and Conditions and a Privacy Statement - MAKE SURE YOU READ THEM! Most people don't, but when handing over personal info and/or money, you should know certain things: will these people take your profile info and post it somewhere else? Will they protect your privacy? How do they keep your info private? Can you get a refund? Sometimes, the privacy/terms&conds are actually a useful way to CHECK the website; have they copied and pasted another website's terms and conditions and forgot to change the all-important company name?
Do your research: if you haven't heard about the person or company before, look them up. Ask around, google the website name. Check American and Australian business sites that report rip-offs and scams. If you feel wary about the website, then DON'T use it. If it's too good to be true, it probably is, and there are heaps of these sites around.
If you do sign up for a site, NEVER ASSUME THAT EVERY AD IS LEGIT. Many, if not most, websites can not and do not filter through every single ad to confirm its legitimacy. Therefore, even if you trust the site, you CAN NOT TRUST THE AD. Be sure to do due diligent research on the ad, just as you would for the website. ALWAYS BE WARY OF EMAILS FROM THE WEBSITE THAT TELL YOU YOUR ACCOUNT WILL/HAS BEEN CANCELLED AND TO SEND PERSONAL INFO; even legit sites can be 'copied' by spammers and scammers. If you're concerned about your account, then DO NOT CLICK LINKS IN THE EMAIL, and instead type the website address directly into your browser and login to the site. If there's no notice of a cancellation of your account, then it's most likely a scam; contact the website owners to confirm.
When do you hand over money? Certainly NOT BEFORE RESEARCHING it using the info above. Only when you are comfortable should you give money over - be sure to check what their refunds policy is, if they have a short 'test' period at which you can ask for your money back in (for example) 14 days. Don't feel as though you'll miss out on some big movie role if you don't pay out: these websites won't advertise roles like that, they'll only be cast through agents. Only pay up if you feel comfortable that the info on the website will be useful; do a lot of investigation of the site, how it works, what you can do, what info is listed, what info is 'hidden' before you pay. You can also always call or email the website owners and ask them to do a walk-through of how the site works and what payment will get you. Talking to the actual people who run the site may assuage your worries.
One more thing: just because a site is run by someone who is in the industry (or professes to have been) does not make it legit. I have heard of a number of sites where the person in charge has no concept of privacy, and of instances where private information has been repeated to other people. I have heard of a number of sites which have been set up by local artists who have little to no understanding of online privacy, the necessity of encryption of private info (like credit card info for example).... In other words, just because the person works in theatre does not mean they have the knowledge, experience or concepts to run an online business ethically. If you ever hear or read of anything that makes you feel insecure about your info being kept private, or the person in charge doing something which sounds dodgy to you, then don't use their services.
What to know about credit cards and paying online
When you buy something from a website, you need to know a few things:
1: Does the site have a certificate?
In web terms, this is called 'SSL', it refers to 'secure socket layer'. A legit website - or even the dodgy ones actually, more on that in a sec - use SSL which both encrypts the data that is transferred during payment, and is like a 'background' check on the company that you're paying to. Basically what that means is that your credit card or other personal details will be encrypted when sent through the website. Obtaining an SSL certificate can cost $10 or thousands depending on what kind of certificate is purchased. This is important to know. It does not affect the level of encryption, or safety of your info, but rather affects the amount of time and labour the certificate-giving company spends on doing the background check of the website. The background check is to ensure that the website is what it says it is and that the company/people who run it are who they say they are.
This means that a non-legit company can purchase a $10 SSL certificate and the only background check done is that the email address doesn't bounce. A thousand-dollar check means that the certificate-giving company actually goes through the site's legal status and checks against local authorities and other relevant references.
It is also useful to know that there are certificate-giving companies that are more trusted than others, as well as certificate-giving companies that are entirely dodgy.
This means that when you make a payment to a website, you should look for a little badge, button or notice that shows that the site is certified. In internet explorer and other browsers, a little green closed padlock will appear in the browser's address bar, showing that the site is certified and secure. On a secure page, you will also notice the URL should be https:// instead of the normal http://
When making payments you should also double check for yourself that the certificate is what it's supposed to be: dodgy websites also 'borrow' other people's certificates and have been known to piggy-back other sites. To check the certificate, double click on the padlock and read the info in the certificate: it should say the name of the company, who certified them, and on what date. If none of those things match what is given on the site itself (ie. the company name is different), then you will want to do further investigation.
2. Getting error messages?
Some websites use a 'shared' certificate, which basically means their web host offers a certificate to their customers on a shared basis. While this is as secure as unshared certificates in terms of encryption, it basically means that the company has had no background check, because they've simply given themselves the certificate. This doesn't mean they're dodgy necessarily, probably just people wanting to either save money or they don't know how to set up SSL themselves. You can check their certificate (clicking the padlock remember?) yourself and if you are happy with the site, you can actually manually add their certificate to your browser as a site to trust. (Every browser comes with a selected list of 'trusted' certificate authorities - ie. Verizon, GeoTrust - which automatically add websites as trusted sites if they are certified by that company)
Another thing is that every image on the site has to be proceeded by the https:// and images can interfere with the certificate; the site may give an error message saying the site isn't secure even though it is, it's just the images aren't given the correct image address. You can check this for yourself when you open the certificate and view the 'media' for the site. You can see all the images listed and whether or not one is incorrectly addressed and interfering with the site (incidentally, some web stat codes also interfere with this and so you may get an error message without having an image incorrectly addressed).
If you've checked the above error problems and none of them apply, then be wary and do more research.
All of the above about certificates is said with a caveat: Theatre companies and other such arts-related companies rarely have the money to pay several thousand dollars every year to get/keep certified. There is no way to know whether or not the company pays for a $10 one or a higher-priced one; nor is it a way to judge whether or not the company is legit. I'm merely stating what the facts are in relation to your security when making payments online.
3. Does it have a refunds policy, privacy policy or any other terms and conditions?
If so, read them and be informed about your rights. If not, ask yourself why.
4. Don't want to pay online?
Then don't. Legit companies will actually take other forms of payment if you contact them via phone, usually cheques, money orders or direct deposit. If they don't, and you don't want to pay online, then don't pay online and take your business elsewhere.
Updated 25 Feb 2009
Courses
Courses in Australia range from acting to production, from writing to musical theatre. You should not only choose the best course suited to your needs, but also choose according to what other people (teachers, etc.) have recommended for you.
The three 'main' colleges for theatre are: NIDA (NSW), WAAPA (WA), and VCA (VIC). However, there are plenty of universities that offer drama courses, as well as courses at TAFEs that are more practical-based, and plenty of technical courses for those techies out there.
Don't forget, plenty of theatre companies offer classes, and production companies and TAFEs often provide short course certificates as well.
For a good list of courses, you can check out Drama Australia's lists, or check out the branch of Drama Australia for your state.
Some of the universities in Melbourne offering theatre courses include: Swinburne Uni (TAFE), Deakin Uni, Monash Uni, RMIT, NMIT.
Please add your local courses/classes/tutors/etc. to this site by 'adding a child page' below.
International
Film, Television, Theatre and other related courses/workshops/etc for locations outside Australia
NSW
Film, Television, Theatre and other related courses/workshops/etc for New South Wales
To add your details, use the Add Child Page option below
SCREENWISE, Australia's Leading Film & TV School for Actors
Grnd Flr 84 - 86 Mary Street, Surry Hills 2010
Screenwise was established to provide specialist, career-focused training in acting for film & TV, by employing the crème de la crème of industry professionals - award-winning actors, directors & casting consultants who are articulate and inspirational teachers.
Overseen by Denise Roberts, the teaching staff includes actors of the calibre of Victoria Longley (Wild Side), Tina Bursill (Small Claims), Nico Lathouris (Wild Side) Terry Serio (Summer Rain STC), Philip Holder (Home & Away), with prominent reputable directors which include Peter Andrikidis, (Mary Bryant, Jessica) Jennifer Kent, (Two Twisted) Bill Hughes ( All Saints) Cath Roden (Always Greener), Lewis Fitzgerald (Home & Away, McLeod's Daughters) who are currently employed in film or television; as well as selected Casting Consultants and Agents.
It is because of these tutor's and their Industry expertise and authority, and the fact that Screenwise Students are exposed to them on an intimately regular basis providing rare networking opportunities, is the reason that Screenwise has become Australia's leading film and television school for actors.
GET OUT OF YOUR OWN WAY - YOU CAN MEDITATE YEAH - BUT CAN YOU ACT?
there is no formula to acting - no trick - no spin guru for this one
it is about breath- about utterance - about physical balance
it is about tuning the only instrument the actor has: THEMSELVES!
ALEXANDER TECHNIQUE – DYNAMIC BREATHING - are used along the way in this intensive course that shall help to smash the wall!
Don’t be DUMBED-DOWN by productions that just want a 'type'.
what does 'BEING CENTRED' mean? - what is 'STAGE WEIGHT' or 'SCREEN
PRESENCE'? what is that 'SOMETHING' that makes you want to watch a dog
or a child, but turn off when an actor comes on pulling all stops?
what does 'BEING STILL mean? - "WHY DON’T I GET THAT LAUGH?" screams the actor.
why do actors fall for the trap of END-GAINING - and what does that mean anyhow??
FIND OUT with
DAVE LETCH
highly acclaimed ACTOR/DIRECTOR/PRODUCER
(Angel At My Table, Heart of The High Country, Mr Wrong)
CAMERA WORK - TEXT WORK – SCENE WORK – THEATRE/FILM – ACTING IS
ACTING! It's about degrees of DYNAMIC. but you've got to get the gut
connected first.
BE YOURSELF! Suggested the director JUST BE YOURSELF!!
Ok. But who the hell am I???
Commences: Mon 11th September 2006 Concludes: 16th October 2006
Cost: $660 (inc GST)
About the Tutor:
David Letch has got to be one of
the greatest actors of his time. From his magnificent internationally
acclaimed portrayal of Patrick the lovestruck alcoholic in ANGEL AT MY
TABLE and the retarded creature in HEART OF THE HIGH COUNTRY to his
spine chilling performance as the ghost in MR WRONG, Dave Letch is one
of New Zealand’s greatest exports.
Currently Producing the Feature Film Glenorful, Dave has
worked across film, television and theatre in a career that covers
acting, writing and directing. He has written for Crawford Productions
in the days of Homicide and Division Four, written the animated
features Rancid Rat and Mephisto Lives and Beyond The Game a music
theatre work concerning street kids working ‘the wall’ in Darlinghurst.
He was nominated Best Actor by British Vogue for his role in the mini
series Heart of the High Country and has played SPIDER in the grand
prix winning sci fi film Death Warmed Up. He hung up his hat as an
actor following his highly acclaimed creation of Patrick in Jane
Campion’s An Angel At My Table to concentrate on his love of developing
and creating new theatre. He has produced and directed many award
winning short films and documentaries and he created the most
successful for young people’s operas - Opera QLD where he has also
directed for the main stage.
He was co-artistic director of RENEGADE INC. a company dedicated to new
Australian writing and was a writer’s mentor for “Tropnest” based at
fox studios. He has sat on the board of the ANPC (Australian National
Playwrights Centre) and was Vice President of Brisbane Independent
Filmmakers. He was founding Editor in Chief of ‘Exposure’ film and
arts magazine and the International Short Film Festival of
the same name. He has held the position of Artist In Residence to James
Cook University where he taught across all levels of the theatre
degree and directed graduating year productions and showcases. He
also created the acting for camera component of the degree and taught
specialist areas in Alexander Technique, Improvisation and Shakespeare.
He has been Dramaturge to the Melbourne Theatre Company, Queensland
Theatre Company, Playbox and many independent production houses. His
most recent theatre productions have included A Tree Falling by Ron
Elisha which was nominated for a Green Room Award, The Blind by
Maeterlinck, Solitary Animals by Elaine Acworth, Beauty & the Beast
by Nick Dear and the critically acclaimed new work by Ron Elisha
Wrongful Life. Dave is a regular director for and consultant to
Parnassus’ Den and shall direct their main house 2006 production
Renaissance at The Old Fitz later this year.
The students will be working with the Presenter's NECESSARY SKILLS:
Short term memory, Acting as reacting, Circle of concentration,
One to one communication, Doing it for the cameraman, Walking and
talking, Hitting the mark, Finding the light, Finding the camera, Being
prepared, Being spontaneous, Being spontaneous twelve times in a row,
Stamina, Presenting YOU, Voice and body, Relaxation, Energy,
Discipline, Writing your own copy, Improvising, Taking direction,
Working as a team.
INTRO:
When: 1 night per week for 6 weeks from 6.30 p.m. - 9.30 p.m.
Commences: Wed 13th September 2006 – Concludes Wed 18th October 2006
LEVEL 2:
When 1 night per week for 6 weeks from 6.30 p.m. to 9.30 p.m
Commencing Mon 11th September - Concludes Mon 16th October 2006
(Material from this course can be used for a presenter showreel).
SCREENWISE Australia's Leading Film and TV School for Actors www.screenwise.com.au is ecstatic to announce a 6 WEEK PRO WORKSHOP with DIRECTOR and highly acclaimed Actor DAVID LETCH (Angel At My Table, Heart of The High Country, Mr Wrong)
Dave has worked across film, television and theatre in a career that covers acting, writing and directing. He has written for Crawford Productions in the days of Homicide and Division Four, written the animated features Rancid Rat and Mephisto Lives and Beyond The Game a music theatre work concerning street kids working ‘the wall’ in Darlinghurst.
He was nominated Best Actor by British Vogue for his role in the mini series Heart of the High Country and has played SPIDER in the grand prix winning sci fi film Death Warmed Up. He hung up his hat as an actor following his highly acclaimed creation of Patrick in Jane Campion’s An Angel At My Table to concentrate on his love of developing and creating new theatre. He has produced and directed many award winning short films and documentaries and he created the most successful for young people’s operas - Opera QLD where he has also directed for the main stage.
He was co-artistic director of RENEGADE INC. a company dedicated to new Australian writing and was a writer’s mentor for “Tropnest” based at fox studios. He has sat on the board of the ANPC (Australian National Playwrights Centre) and was Vice President of Brisbane Independent Filmmakers. He was founding Editor in Chief of ‘Exposure’ film and arts magazine and the International Short Film Festival of the same name. He has held the position of Artist In Residence to James Cook University where he taught across all levels of the theatre degree and directed graduating year productions and showcases. He also created the acting for camera component of the degree and taught specialist areas in Alexander Technique, Improvisation and Shakespeare.
He has been Dramaturge to the Melbourne Theatre Company, Queensland Theatre Company, Playbox and many independent production houses. His most recent theatre productions have included A Tree Falling by Ron Elisha which was nominated for a Green Room Award, The Blind by Maeterlinck, Solitary Animals by Elaine Acworth, Beauty & the Beast by Nick Dear and the critically acclaimed new work by Ron Elisha Wrongful Life. Dave is a regular director for and consultant to Parnassus’ Den and shall direct their main house 2006 production Renaissance at The Old Fitz later this year.
Film, Television, Theatre and other related courses/workshops/etc for the Northern Territory
SA
Film, Television, Theatre and other related courses/workshops/etc for South Australia
To add your details, use the Add Child Page option below
Tas
Film, Television, Theatre and other related courses/workshops/etc for the state of Tasmania
To add your details, use the Add Child Page option below
Vic
Film, Television, Theatre and other related courses/workshops/etc for the state of Victoria
To add your details, use the Add Child Page option below
Box Hill Institute
Box Hill Institute's Centre for Performing Arts enjoys a reputation as a leader in the provision of high-quality, industry-relevant training. All of our trainers are experts in their field; we have a policy of continuous professional development to ensure that teachers remain abreast of current trends in a constantly changing industry.
The Centre for Performing Arts encompasses under its broad umbrella courses in:
As an Adult Education Institution, CAE exists to provide learning to the Victorian community through a wide range of programs and services. CAE receives government funding through the Adult Community and Further Education Division (ACFE). This funding supports CAE to deliver accredited courses designed to help adults complete their secondary education and begin or change their career direction.
Curtin's Theatrical Arts course is well known across the country. This description is from the Web Site liked above.
This course allows disciplinary and interdisciplinary offerings in the areas of Australian and Intercultural Studies - Australian culture and society from intercultural comparative perspectives; Communication and Cultural Studies - the theoretical base andpractices of either film or journalism studies in a cultural studies context. Creative Writing; - the theoretical base and practices of creative writing; Cultural Studies - contemporary cultural theories; Gender Studies - understanding of gender and sexuality; Literary Studies - how literary texts articulate cultural values; Professional writing - professional communicators in a wide range of fields and the meanings these have in cultures; Performance Studies - the practice, history and theory of theatre; and Publishing Practice - skills, roles and contexts of publishing.
“Curtin's theatre course is hands-on and covers a wide range of areas that allow you to try out new things and take some risks. And the ability to collaborate with a range of talented artists - actors, designers, directors, stage managers and a very nurturing staff - yielded very rewarding results.” Luke Milton Freelance Playwright and Director
Drama Works
Nowadays everyone needs drama skills in one form or another. This is the age of the 'presentation' where products and ideas are sold in a competitive market-place by the strength of the presenter and their powers of delivery.
Even before this stage, many school projects have oral or presentation components. Jobs and further education often involve an extensive interview process. There is an increasing need for a confident outward persona, an ability to speak with ease and audibility using the appropriate relaxed body language.
Dramaworks offers excellent preparation for a wide range of life skills and a solid learning platform for those with more advanced drama and theatre ambitions. Extracted From the Web Site
WEB SITE IS CURRENTLY UNAVAILABLE, as of 25 Feb 2008
Dramaworks coming to Yokine !
Dramaworks will be opening it's second school in Yokine.
Term starts on 25th July 2006, and registration is now open.
Classes are limited to 16 students only.
Juniors aged 7-11 and seniors aged 12-16 years.
Call 08 9295 5999 for an information pack.
www.dramaworks.com.au
Perth Actors Collective Screen Workshops
The Perth Actors Collective offer a range of workshops and training course covering topics such as Film and Television, Voice, Scripting and Stage Craft. They also offer regular special focus courses. Check out their website for more details.
PAC Screen Workshops bring together professional actors, film directors and screen writers wishing to deepen their understanding of the craft of screen drama and explore techniques for generating dynamic screen performances.
School of Contemporary Arts Course of Contemporary Performance - Bentley Perh
Since the beginning of 2002 the Edith Cowan University School of Contemporary Arts has been undergoing a profound change. It is redefining its role in order to be able to sustain a more intense engagement with cultural debate at all levels; this debate ultimately constitutes the broad educational base in which learning through cultural exchange can occur. Students have the opportunity to work in a unique multi-arts environment, generated by the close relationship between Contemporary Arts, Performing Arts (WAAPA) and Communications & Multimedia (SC+M), the three Schools that together make up the faculty of Communications and Creative Industries. - Extracted from the Main Home Page
Theatre/Drama University Degree Programs in WA – My review
Theatre/Drama University Degree Programs in WA – My review
Hi!
Are you interested in studying theatre and drama after high school? Maybe in doing a BA (Bachelor of Arts) with a theatre/drama major? Trying to decide which course is best for you, or want to know what’s out there?
Please read my review, and add your own comments and share your opinions too.
I wish someone had laid out the best and worst parts of the courses for me at the crucial point of decision in year 12. I only hope that I help you in some way by making this post.
I’m Amy Murray, I’m a young/”emerging” actor/artist in Perth. I’m currently partway through a BA in Theatre and Drama at Murdoch University, but I have had experiences with a couple of other programs. Below I post my opinion on the best and worst parts of the tertiary theatre programs I’ve had experience with – it’s up to you to decide which course you think would work best with you. Every course is very different. Take the time to read this, please – make my efforts seem worthwhile! I hope I can help someone make the difficult choice with my reviews.
Everything you read here is my own opinion and you may have an entirely different one, and that’s okay too! I’ve tried to be blunt and very honest here with everything I’ve written. Okay, here goes!
Curtin University – Bentley campus
BA – Performance Studies degree program (Communication and Cultural Studies), 3 years full time.
I initially enrolled in this degree straight after high school (2010), with a double degree of Journalism. I left for Murdoch in 2011.
The good:
- Curtin University, in my experience, has the best campus. I find that I made a lot more friends at Curtin, for some reason this Uni seems to attract the most social crowd.
- The teaching staff. Mike McCall is a great contact to have, and many local theatregoers will come along to Hayman performances and post reviews (check out Gordon The Optom on here – a fan of Curtin theatre). Acting and working in theatre is all about making connections. Curtin has all the right ones.
- The stage combat/Shakespeare unit. Hopefully, this unit will make Shakespeare seem less daunting/boring. It did for me. It’s a first year unit too.
- The Hayman theatre crew, which you will become a part of as a performance student. A very tight-knit group of like-minded people almost like an exclusive club. It’s this friendship that I miss the most about Curtin. I’ve never managed to find as close a group of friends as those I had in my performance studies year. Over the years, as your perform with your peers in the same group as you, you’ll manage to strike up friendships that will last a long time. I remember being told “Uni years are the best of your life”. It felt like that at Curtin. The whole university experience for me was the best in my year at Curtin. I moved, but more on that later.
- Curtin has an amazing Tav. The best of all the Uni’s in my opinion! They sure know how to throw parties.
- The Hayman theatre shows. Students get the opportunity to direct one of their own if they want to. Some of these shows are of an incredible quality. You will also have the opportunity to audition for major shows with noteworthy directors - a really good way to start networking with the theatre community of Perth.
- The ‘DIY’ Hayman attitude. The Uni works in a way that you kind of have to learn yourself how to rig lights, plan a soundscape for your show, etc… Hayman crew will help you with this, and everyone helps each other out. You will learn all aspects of theatre here if you put in the effort. You can stage manage a show, be the tech guy for a show, direct a show, act in shows of course…
- The support system at Curtin is fantastic. I don’t mean the academic support, or the support if you wish to add/chance majors (from my experience, these aspects needed a little work… Curtin is a big Uni remember, so the staff have a lot more commitments)… Anyway back on to topic. If you ever need to see a counsellor for whatever reason, don’t be afraid to. Curtin has a wonderful service for free here. I recommend it to anyone who’s feeling out of sorts, or anyone who needs to work through a bad experience. Actors needs to make sure they have a healthy headspace. It’s too easy to throw yourself into the negativity of the industry (and of some characters too I suppose, famous case here being Heath Ledger).
- The Guild/the Guild days. FREE STUFF! YAY!
The bad (aka why I decided to transfer):
- The Hayman theatre is tiny. I was so disappointed. I’m paying a lot of money to be at Uni, and the theatre was smaller than my high school one. Curtin cut it down to make office space. Curtin doesn’t seem to put a huge amount of money into their performance course, unfortunately. The small theatre can have its advantages; it’s similar in size to The Blue Room’s Studio space (check out The Blue Room and go and see some independent theatre for research, budding students!) The space can feel really intimate. I just hoped for a big venue, as I wanted my tertiary education to be the most intensive and professional in every way.
- The first year ‘humanities’/foundation units. There are many of these. I see the point of them, however there’s just too many. To be completely honest, a few felt like ‘wank’, as if I was wasting my time (and money). I loved Engaging in Media. Some of the other humanities units include Making Meanings, Narrating Selves, and Engaging In The Humanities… These units WILL teach you how to write a good essay, which is an essential skill for the tertiary theatre student. However, as you’re studying a BA, chances are your first year will only have 2 intensive performance units. The other 6 will be foundation units like these, unless you’re taking up a second major. This can be very disheartening. Stick it out. I hear 2nd and 3rd year performance units at Curtin are worth the wait. I never got to find this out, as I was too disheartened and transferred.
- OASIS (the online system for registering for classes and units for Curtin Uni). Full of many delays, issues and frustrations. Infamous. The Curtin website also has its problems. For me, finding the damned TISC code for the double degree I wanted to do was hell. There are a million different pages of courses, and only a few have the crucial details you need. A little more organisation would be great.
- One of the aspects of this course that I found most disappointing was that Hayman shows are separate to the degree. This means that you audition, rehearse and act in a theatre performance all in your own time. The actual degree units are training and theory, not full-scale productions. I wanted a course that would give me production experience as part of my degree… I figured that if I was paying for a theatre course, I wanted real theatre experience included.
Remember I was only at Curtin for a year. If I could turn back time, I never would have transferred. I miss the friendships there and the Hayman shows are ONLY available for audition to Curtin performance studies students.
My high school drama teacher studied there and recommended it, which was why it was my first preference TISC choice. Hayman has a good reputation in the industry. Many Performance Studies graduated go on to gain places in WAAPA and NIDA.
More info: http://courses.curtin.edu.au/course_overview/undergraduate/performance
http://haymantheatre.curtin.edu.au/courses/
Murdoch University – South Street campus
BA – Theatre and Drama program, 3 years full time.
I’m partway through my BA Theatre/Drama right now. Transferring did add on an extra semester, however if I did a bit more research on the units, I may have been able to push for further advanced standing (to make it so that my transfer didn’t add any extra time).
The good (aka why I transferred, points I like about my Uni/degree and things the teaching staff told me that influenced me to swap):
- Contemporary Theatre Practice unit. Graduates told me not to miss this one. You will learn how to write up grant applications and submit formal pitches, which all sounds very strange right now. Basically, if you wish to produce your own show in the future for profit, this is the unit to take to learn how to realistically do so. You are also able to get some real life experience in the Perth theatre industry with a Blue Room theatre mentorship.
- Children’s Theatre unit. There is the opportunity to teach theatre to children in Malaysia for 2 weeks with this unit. This unit is a lot of fun – I’ve been told that many theatre students repeat it 2 or 3 times, as they loved it so much. Within this unit, you will perform 2 children’s theatre shows. You have the opportunity to help devise if you so wish, and rehearsal time is included in class time – although be prepared to give up some of your spare time too. Get used to it! This is what productions are like anyway. Super busy. I also heard from David Moody that some 3rd years were given the chance to work as professional actors in Chile for 3 months. Travel opportunities at Murdoch ate plentiful. I was accepted in a Study Tour of Japan with very little knowledge of the language, because I submitted a great application! (I unfortunately wasn’t able to make it in the end, but there are Japanese language units if you wanted to do something similar).
- The Acting and Production units teach you (compulsory!) how to rig and operate lights and sound for theatre, as well as how to audition for shows. An essential skill for any serious theatre actor, as well as those who want to go on to be a theatre technician. It’s important that you learn ALL aspects of your craft. I know, most of you just want to act. But knowing the tech side of things WILL come in handy. Especially in a small community like Perth, where many theatre shows travel in small groups and everyone is expected to help out.
- The NEXUS theatre is amazing. One of the reasons I decided to transfer. Go and visit it and see for yourself. It’s clear that Murdoch have put a bit of money behind this theatre. It has all of the latest equipment, and is a nice big venue that companies can even hire out. If you wanted to direct your own show, like Hayman people do at Curtin, you can do so here. It is a bit less ordinary for student to do that at Murdoch though, unfortunately from my experience so far.
- The campus at Murdoch is also wonderful.
- One of the major drawcards for me was the flexibility. Murdoch is well known for its flexible nature, meaning that you can pretty much study whatever you want. For example, it’s possible to study theatre and psychology as double majors, even with a minor in organic chemistry – a combination that was not possible when I was at Curtin. (I was always interested in psychology…) The wonderful thing is that you can pick up a minor or second major easily, and drop it if so desired just as easily. Go online and look at their “A to Z list of minors” to see what’s available. A minor or second major is a good idea, as a single major BA is not as much work as it sounds. BA’s actually have a bit of a bad reputation – “Bachelor of Attendance” (I have heard the nickname!) So if you wanted to study your passion for theatre, but also have a backup option, such as a science major, Murdoch makes this a lot easier than any of the other Uni’s (in my opinion).
- The teaching staff are wonderful at Murdoch as well. They also have great connections, and although this course doesn’t have as much of a famous reputation as Curtin’s, I think it does have it’s own merit to be considered. The staff have been very supportive and understanding of any personal circumstances, and lenient towards assignment deadlines (which is both a good and bad thing I suppose).
- As previously stated, you can direct your own show here too if you so wish. It’s a lot more common for this to happen at Curtin though, and there are a myriad of more choice to audition for with Curtin’s student shows. That being said, do check out the Murdoch Theatre Company if you’re interested, who produce shows outside of the degree (Hayman-style!) for you to audition for.
- The film (Screen Production) school here is quite impressive too. Same situation as performance – it isn’t as well known/revered as Curtin’s, but nevertheless impressive. Facilities here are great. One thing I do love about Murdoch are the fantastic facilities.
- The Writing For The Stage and Writing For The Screen units – for any budding playwrights and film scriptwriters.
- Ideas In Action. It may at first seem like first year ‘wank’ unit, as previously discussed, however I found it to be academically stimulated and it really made me think. A worthwhile unit.
The bad:
- There isn’t as much as a tight-knit friendship group here. This may just be me, but I think that the Hayman has a way of bonding people. This is one of the things I miss the most about Curtin. The social atmosphere, never feeling lonely. (Sounds very depressive!)
- The campus. It doesn’t look as pretty as Curtin’s, and it seems as if there’s always construction going on. The walk from the bus station into Bush Court is not the best, but then again, Curtin’s bus station is a little while away from their main strip too. But regardless of this, Murdoch’s building are drab and dreary and a lot older. That isn’t to say that their facilities are inferior, as I’ve already explained, the theatre facilities at Murdoch are amazing.
- The unit’s aren’t as “training” based as I’d have hoped. I think that Curtin’s 2nd and 3rd year units, from what I’ve heard, are based on acting skills, such as movement and voice and training these up to make the actor better at their craft. As Murdoch has production units, a lot of these training skills are sacrificed. I’ve managed to find other ways to get these training skills (I’m still working on it, I’m in no way a well-trained actor yet) – look up NASA (Fern Nicholson’s school, which runs actor training short courses) and PAC Screen Workshops. For beginner’s/people who want to know how the industry works, take a Loren Johnson/Perth Acting Classes course. Most of these are available nights or on the weekend, so it’s possible to do this in your own time outside Uni. They WILL cost you money though, and they’re not cheap. I just would have loved it if my tertiary education included a deeper, more professional level of voice and movement acting skills, but at the moment, Murdoch doesn’t really offer this. Actually, from what I’ve heard, ECU’s courses are the best for these training elements for the actor.
- Some of the foundation/first year units here are a bit basic, similar to the ‘wank’ that I was talking about at Curtin. BA degrees typically have a simple first year, however for the student who wants full on awesome training from their first year, this can be really disheartening. It’s great for students that missed out on TEE Drama though, as they’ll have the chance to understand things like “The Method” and Brechtian techniques, etc. Just if you’ve already covered this in high school, first year can feel very underwhelming and not very academically stimulating. Intro to Creative Arts and Intro to Drama felt like this to me.
- The course seems really short. From the outline, I really feel the lack of ‘training’ units. Compare the course outline to Curtin’s. On Curtin’s, you will see a specific Voice unit, a specific Devised unit, etc. This layout for me would be more effective, rather than blending acting skills and tech skills in the Acting and Production units.
More info:
http://www.murdoch.edu.au/Courses/Theatre-and-Drama/
Edith Cowan University – Joondalup and Mount Lawley campuses. (???)
B contemporary A - Contemporary Performance degree program (??????) (Communications and Arts faculty)
The Mount Lawley campus, notably, homes the Western Australian Academy of Performing Arts (WAAPA) – one of the most prestigious actor training academies in the nation, along with NIDA and VCA.
ECU can be a bit confusing – their website also lists WAAPA courses. WAAPA is part of ECU. Keep in mind that you will only be able to enrol in a WAAPA course upon successful audition and offer of place. WAAPA auditions’ are vigorous and the academy highly regarded – it’s not easy to get into, and many students may only gain acceptance after completion of their BA in theatre at Curtin/Murdoch/ECU.
I recommend all budding actors audition for WAAPA, so they know what the experience is like, if even just for experience’s sake.
Don’t be put off by “super TAFE” comments about ECU. Although ECU has a lower TER admission score than the other two Uni’s, it is well known for being a hands-on/practical based training centre. Isn’t this exactly what a budding actor wants? Somewhere to learn practical skills, not just theory (or writing up essays on this theory). Don’t dismiss ECU right away, like I did, when I was naïve. I wish I had the chance to experience their performance courses, as I honestly think they would have given me the training skills I was hoping for as theatre Uni student.
I’m very confused about ECU right now. Back when I left school, 2009, there was a fantastic undergraduate BA/BA program offered at ECU called Contemporary Performance and Theatre Studies.
I know that this course is not offered any more, as the Theatre Studies degree was based with training in WAAPA. Presumably this contrasted with or threatened the pre-existing Acting program at WAAPA.
However, I can’t find an undergraduate program for Contemporary Performance at ECU any more. I was under the impression this was still available. I can’t find it on their website, does anyone know why?
I only hope that ECU hasn’t ditched the course entirely.
I hope this course still exists! If I could go back in time, I wish I had put my first preference as the Contemporary Performance/Theatre Studies double major.
I’ll give info on the Contemporary Performance course as I remember it to be (this info may be outdated, if ECU has dropped the course):
Entrance into the Contemporary Arts (contemporary performance) also requires an audition. Don’t be too mortified at the thought of this – the audition panel will be understanding of nerves and of people with little experience. Just learn your monologues well and be prepared! From my understanding, the audition for the ECU course is not as vigorous as the audition/s for the WAAPA Acting course. It may be a good idea to have completed some training short courses before considering an audition for ECU and/or WAAPA’s courses, as above.
When I did my research on the course outline, there were a lot of practical, actor-training based units, such as specialist voice units (some offering training with different accents) and movement based units; as well as some production units.
More info:
This is all I can find in terms of undergraduate links.
I don’t regret my time spent at Curtin, nor do I regret undertaking my current degree at Murdoch.
In the end, all you’re going to get is a piece of paper with your name and “BA”. Three years of time, effort and money just for piece f paper!
Essentially, this piece of paper is the same, no matter which Uni it comes from.
Other courses:
Notre Dame – I know very little about Notre Dame’s theatre course. Notre Dame is a private (ie: more expensive) and Catholic University, meaning that you will need to complete some theology units as part of your degree.
Notre Dame as a beautiful campus dotted around the heart of Fremantle, and it’s worth a further look if you’re interested.
Sorry I can’t be of much help here! I have a HECS debt (ie: loan) and I could never have been able to afford private University tuition, which Notre Dame offers. If you can, then definitely consider their theatre program too.
Perhaps someone can add to this article with his or her experiences at Notre Dame studying Theatre?
More info here: http://www.nd.edu.au/fremantle/schools/arts_sciences/theatre_studies.shtml
University of Western Australia – Unfortunately UWA doesn’t offer a BA in Theatre Studies. They do however have a great theatre company that perform at The Dolphin Theatre in UWA, called GRADS. You may be interested in auditioning for one of their shows.
Some final words….
Thank you for reading so much :)
With all of these courses, to my knowledge, is the opportunity to double up with an Education degree – if you’d like to be a drama teacher, I recommend this. Or, do what I’m doing, and complete the BA at wherever you choose, then spend a 4th year completing a ‘Dip Ed’ (Diploma in Education) specialising in theatre education/drama teaching.
Remember, what you’re looking for in terms of theatre/acting training may not be what ‘everyone’ is doing – you have to choose which course will work best for you in the end. You can always transfer – before doing so on a whim; try to talk to the head of the degree at that University. Their contact details should be on their website. You should have lots of questions. If you transfer, make sure you get advanced standing/recognition of prior learning, so you won’t have to repeat any of those crappy first year ‘humanities’ units!
Uni is FUN. Doing a BA shouldn’t be stressful.
One last bit of advice – try to go to all of your lectures and complete your readings. They will open your eyes to other aspects of the wonderful world of theatre, and knowledge is power :)
Let me know your thoughts and your own opinions by commenting.
Thank you for reading, hope this has helped weigh up the decisions!
Forming a part of the School of English, Communication and Cultural Studies, UWA is renowned for its theatrical courses. Here is a snip for their Web Page (link above).
Theatre and performance studies have been taught in the discipline for many years, across a wide range of contexts.
Students can study a range of upper level units. Three units are offered over a two-year cycle and each focuses on different areas of theoretical, contextual, and practical study.
040.206 Spaces of Resistance: Subversive Theatre & Performance040.256 Avant-garde Theatre and Performance040.235 Performing Bodies/Performing Selves
Directors and Directing
This section of the FAQ is designed specifically to answer questions and provide guidance and support for directors and those with an interest in directing for the theatre.
Finding Plays
If you are searching for plays your local library is not generally a good place to start. Even tertiary institute libraries tend to have older works on their shelves. Searching the web is good but for specific searches you can try:
They are attempting to amass a complete listing of every playwright and play, published or unpublished, in English since 1956. If you are a playwright (even unpublished) they would like to hear from you as well.
The Victorian Drama League has a large catalogue of playscripts conveniently searchable by type, length and the number of male and female roles:
I am as many of you know a playwright based in Adelaide and associated with the SA Writers Theatre. I have finally decided to set up my catalogue properly and have placed it on my website at
http://www.tonymoore.id.au/Catalogue%20for%20website%20July%202010.pdf
This catalogue contains all the details of my 6 full length plays, 11 one act plays and 12 short plays (less than thirty minutes.) Some of these have been published in the UK and the publishers details are contained in the catalogue. I can provide PDF files for the rest if anyone is interested.
Looking for new one act play. Try here!
The SA Writers Theatre has begun to catalogue all of its members plays. This is quite a big task as the group has been operating for 25 years.
There is a catalogue of one act plays varying in length from 10 minutes to 40 minutes immediately available on the SAWT website.
These plays have all been through the SAWT process which includes readings, cell based dramaturgy, workshop sessions and culminates in a script in hand performance in front of an audience.
Log on to www.sawt.org.au and follow the links to the SAWT catalogue. It is available for download in PDF format.
Looking for new Australian plays. Try this!
Moore Books SA is a new Australian based publishing company.
We have a small but growing catalogue of new plays. The majority of these plays have had at least one performance and independent reviews are available.
The website contains excerpts from the plays.
All arrangements i.e. provision of perusal copies, copying rights for rehearsal scripts and performance rights can be carried out on line.
I have been pondoring this question for a while now and have yet to come across a person who can actually tell me the real answer. Where did the term 'bio' as in bio box come from. We all know what it is but what does it mean?
Chookas!
I was at work last night (we had our first preview) and everyone was running around with the normal ritual of saying "chookas".
It suddenly occurred to me, where on earth did this saying come from? We all have theories on "Break a leg" but I've never heard one for "chookas".
Any guesses?
By the way, has anyone heard anyone use "Break a leg" lately? All I've heard for the last few years is "chookas"...
How do you define good theatre?
A continuation from:
http://www.theatre.asn.au/poll/what_faqs_would_you_like_adde
"How should we define 'good', and what qualities should a good show have?"
Logos notes:
"If we are still talking about helping Directors produce "good" theatre then are we not discussing a hugely subjective issue. I have been to see shows which I considered absolute rubbish that received standing ovations and seen shows I loved that played to 4 or 5 people a night and got panned by reviewers. There are a number of threads on this site that attest to this. Quite passionate attacks on shows and defence of same. I am reminded of Paris and of course Rock Apocalypse.
"So what constitutes good theatre? Many people seem to believe that for amateur shows, particularly those with a lot of young people in them, effort from the cast and overcoming obstacles are enough to consider a show good theatre. I don't.
"Theatre needs to entertain, I feel that very strongly but then we must consider what it has to say. If it only entertains and has no message are we doing the right thing by Thespis. Oh and by the way, it is important that the cast understands what the show has to say. If they don't the message will fail."
Additionally, some people in the business say that good theatre must have a 'message', whether it be political, social or of other important topics of the day.
Personally, I find shows are 'good', when the production has strong, believable characters, few mistakes, a clear and defined script, and the design aspects enhance the performance subtly. I prefer a performance which takes me down the road of the unexpected, rather than the retreading old ground (what I call 'domestic' plays: that is, if the play is something that can be seen anywhere and anytime in the world, and does not bring something new to the themes or storyline involved). This is from an audience point of view... so perhaps we need to split the question into two parts. What makes a good show from the audience's POV, and what makes it good from a cast/crew POV?
The Independent Theatre Association holds an annual one act drama festival call Dramafest. The festival, usually held over the October long weekend holiday, is competitive with a single adjudicator watching, commenting on and judging all productions entered in the festival. Since 1997 there has been a separate Youthfest component to Dramafest.
Finley Awards
The Robert Finley Awards are annual awards presented to independent theatre in Western Australia
2006 Finley Awards - The Winners
Greetings All... I have had several requests for the list on who won what at the recent ITA Finley Awards ceremony. Please note that I am no longer the 'official' publicist for the ITA, however on occasions the ITA do ask me to work on certain projects (including the Finleys)... I was all set to post the results up, however the efficient Kerri Hilton had posted the results in a reply to a thread. So after several requests, here you are:
Please find following the nominees and winners of the 2006 Robert Finley Awards, along with the Top Ten Plays and Top Five Musicals.
Best Play: Winner: The Judas Kiss - Playlovers 2. A Midsummer Nights Dream – GRADS 3. Dinner – Playlovers
Best Musical : Winner: Seussical – Playlovers 2. South Pacific – Old Mill Theatre.
Best Actor: Winner: Scott Sheridan – Midsummer Nights Dream - GRADS Nominees: Peter Clark – Judas Kiss – Playlovers Chris Jukes – Round and Round the Garden – Old Mill Theatre Scott Sheridan – Midsummer Nights Dream – GRADS
Best Actress: Winner: Alex Desebrook – Midsummer Nights Dream - GRADS Nominees: Alex Desebrook – Midsummer Nights Dream – GRADS Sue Darge – Dinner – Playlovers Julia Dalby – Midsummer Nights Dream – GRADS
Best other than lead Male: Winner: Michael Balmer – Judas Kiss - Playlovers Nominees: George McCabe – Judas Kiss – Playlovers Rodney Vermeij- Cemetery Club – Marloo Nick Donald – Insignificance – Garrick
Best other than Lead Female: Winner: Priscilla Busher – Teahouse of the August Moon - Roleystone Nominees: Shannyn Nicholas – Dinner – Playlovers Jacqui Warner- Cemetery Club – Marloo Rosemary Longhurst – Month of Sundays – Harbour Priscilla Busher – Teahouse of the August Moon – Roleystone
Best Set: Winner: Judas Kiss - Playlovers Nominees: Cemetery Club – Marloo The Spiders Web – Old Mill theatre Teahouse of the August Moon – Roleystone Theatre A Month of Sundays – Harbour Theatre Judas Kiss – Playlovers
Best Director: Winners: James Hough Neilson – Judas Kiss – Playlovers and Stephen Lee – Midsummer Nights Dream - GRADS Nominees: Stephen Lee – Midsummer Nights Dream – GRADS Dean Schulze – Dinner – Playlovers Claudette Ridout- Month of Sundays - Harbour James Hough Neilson- Judas Kiss – Playlovers
Best Costumes: Winner: Judas Kiss - Playlovers Nominees: Alice in Wonderland – Kwinana Theatre Workshop Seussical – Playlovers Judas Kiss – Playlovers
Best Musical Theatre Performer – Female Winner: Sonni Byrne – South Pacific – Old Mill
Best Musical Theatre Performer – Male Winner: Alex McLennan – Seussical – Playlovers Elizabeth Crewes Award – Front of House: Stirling Players Sheila Buchanan Award: Roleystone Theatre – Consistent Innovation in Set Design and Construction
Adjudicators Certificates: - For Technical Wizardry Within a Play - “Cash on Delivery” – Garrick Theatre - For Technical Effort in Lighting and Sound – “The Diary of Frank Annie” – Phoenix Theatre - For Attention to Period Detail – “The Cemetary Club” – Darlington Theatre Players - For Innovative Staging of a Production – “Dinner” – Playlovers Inc. - For Sensitive Direction in a Production – Claudette Ridout – “A Month of Sundays” – Harbour Theatre - For Impressive and Innovative Visual Spectacle – Stephen Lee – “Midsummer Nights Dream” - GRADS
Top Ten Plays of 2006 (in no particular order) “Blithe Spirit” – Garrick Theatre “Cash on Delivery” – Garrick Theatre “Cosi” – Graduate Dramatic Society ”Dinner” – Playlovers Inc. “Insignificance” – Garrick Theatre “Last of the Red Hot Lovers” – Northam Theatre Group “Midsummer Nights Dream” – Graduate Dramatic Society “A Month of Sunday” – Harbour Theatre ”The Cemetary Club” – Darlington Theatre Players “The Judas Kiss” – Playlovers Inc.
Top Five Musicals of 2006 (in no particular order) “Class of 77” – Roleystone Theatre “Everything Must Go” – Playlovers Inc. “Oliver” – Darlington Theatre Players “South Pacific” – Old Mill Theatre “Seussical” – Playlovers Inc.
2006 Finley Results
(Repost as people can't find other post)
The 2006 Finley Nominees and Award winners were:
Best Costumes:
Nominees: Alice in Wonderland - Kwinana Theatre Workshopi
Seussical - Playlovers
The Judas Kiss - Playlovers
Winner: The Judas Kiss - Playlovers
Best Seti:
Nominees: Cemetery Club - Marloo
The Spiders Web - Old Mill Theatre
Teahouse of the August Moon - Roleystone
Month of Sundays - Harbour
The Judas Kiss - Playlovers
Winner: The Judas Kiss - Playlovers
Best Other than Lead Female:
Nominees: Shannyn Nicholas - Dinner - Playlovers
Jacqui Warner - Cemetery Club- Darlington T.P.
Rosemary Longhurst- Month of Sundays - Harbour
Priscilla Busher - Teahouse of the August Moon -
Roleystone
Winner: Priscilla Busher - Teahouse of the August Moon - Roleystone
Best Other Than Lead Male-
Nominees; George McCabe - Judas Kiss - Playlovers
Rodney Verminj - Cemetery Club - Darlinton TP
Nic Donald - Insignificance - Garrick
Michael Balmer - Judas Kiss - Playlovers
Winner: Michael Balmer - Judas Kiss - Playlovers
Best Actor:
Nominees: Peter Clark - Judas Kiss - Playlovers
Chris Jukes - Round and Round the Garden - Old Mill Theatre
Scott Sheridan - Midsummer Nights Dream - GRADS
Winner: Scott Sheridan - Midsummer Nights Dream - GRADS
Best Actress:
Nominees; Julia Dalby - Midsummer Nights Dream - GRADS
Sue Darge - Dinner - Playlovers
Alex Desebrook - Midsummer Nights Dream - GRADS
Winner: Alex Desebrook - Midsumemr Nights Dream - GRADS
Best Director:
Nominees:
Stephen Lee - Midsummer Nights Dream - GRADS
Dean Schulze - Dinner - Playlovers
Claudette Ridout - Month of Sundays - Harbour
James Hough Neilson - Judas Kiss - Playlovers
Winners Stephen Lee and James Hough Neilson
Best Musical Theatre Performer Male : Alex McLennan ( Seussical Playlovers)
Best Musical Theatre Performer Female: Sonni Byrne ( South Pacific - Old Mill )
Best Play
3rd Place : Dinner - Playlovers
2nd Place: Midsummer Nights Dream - GRADS
1st Place : The Judas Kiss - Playlovers
Best Musical
2nd Place; South Pacific - Old Mill
1st Place; Seussical - Playlovers
Elizabeth Crewes Award - Front of Housei - Stirling
Sheila Buchannan Award Roleystone Theatre, consistent innovation in seti design and construction.
Finley Song 2005
By request, here are the lyrics of the song performed at the opening of the Finleys this year, overwhelmingly assisted by members of the audience, and resultingly hampered by a guitar which got stage fright...
Sung to "On Broadway" (The Drifters)
I'd like to welcome you tonight to the Finleys. We'll recognize 2005's best shows. Which club is going to win Best Play? Or take Best Musical away? And who was nominated anyway? Who knows?
It's going to be a magic night, at the Finleys. We'll celebrate Perth's theatre community. If you directed, or trod the boards, Designed a set, or sang some chords, You might be up for some awards, wait and see.
The judges from the ITA deliberated, To come up with the list of plays nominated. We'll give out the awards, and in between We'll entertain you with selected scenes. ..The drinks at interval have been refrigerated.
They say that it can open doors, winning a Finley. Overnight success is yours, winning a Finley. You used to be a nobody, Even your mum said 'Who the hell's he?' Now suddenly you're Stephen Lee with a Finley.
We've come to show some club support at the Finleys There won't be any jealous thoughts tonight. We'll smile politely, and all applaud, And keep a tally of which clubs scored, Then bitch about them afterward on the website.
Garrick, Stirling, Goldfields Rep, Melville and Harbour, Phoenix, Darlington, Old Mill and Playlovers, Irish Theatre Players, Blak Yak, KADS, Murray Music and Drama, GRADS, CATS Productions, Roleystone and Margaret River:
...They're the clubs that entered in this year's Finleys ...Who do you think's going to win this year's Finleys? ...It's time to let the show begin, it's the Finleys.
Cheers, Craig
[%sig%]
Finley Song 2006
By request, and in keeping with tradition, here's the lyrics to the song for this year's Finleys.
While I continued my other tradition of only writing it the night before, and consequently not really having it in my head, this was exacerbated by having the Billy Joel lyrics firmly entrenched in my head, and also by having flashbacks to another, less than appropriate version I did a few years ago to the same tune...
To hear it they way I'd hoped it would sound, dig out your old L.P. version and sing along kareoke style...
(Tune: Piano Man, by Billy Joel)
It's 7.38 on a Saturday, the regular clubs are entered in,
There's an air of some expectancy, each club wonders who's gonna win
There's a song being played by the M.C., he's not really sure how it goes
But he knows that this crowd likes to all sing out loud, and he'll get some help from the back rows.
La la la ....
This is the song of Perth Am-Dram. They give out the gongs tonight
And we all hope that we'll be a nominee, but who'll get a Finley tonight?
Now whether it's drama or pantomime, the Perth Theatre community
Like to give it a go, they get on with the show, coz there's no place they'd rather be
And I've just been out talking to Kimberley, she's the President of the ITA
And she's Shaw she can guess the best musical, but can't figure out the best play
La la la ....
This is the song of Perth Am-Dram. They give out the gongs tonight
And we all hope that we'll be a nominee, but who'll get a Finley tonight?
(I'd like to thank) all of the ITA judges, who never had time for a life
And if someone thinks maybe their decisions were crazy, they'll probably bitch on the website
Yes we wait there for Gordon the Optometrist, he'll review us as soon as 'e gets home,
Yes we'll share our opinions and our own reviews, but it's better if our real name's not known.
This is the song of Perth Am-Dram. They give out the gongs tonight
And we all hope that we'll be a nominee, but who'll get a Finley tonight?
It's a pretty good crowd for the ITA, and we've managed to fill to the aisles
So it seems the policy of not announcing nominees won't be getting revised for while
And these amateurs are like professionals, with their tight performances it's clear
That they've raised the bar higher, it should truly inspire some fan-tastic new plays this year
La la la ....
This is the song of Perth Am-Dram. They give out the gongs tonight
And we all hope that we'll be a nominee, but who'll get a Finley tonight?
Cheers,
Craig
~<8>-/====\---------
2004 song:
http://www.theatre.asn.au/node/10743
2005 song:
http://www.theatre.asn.au/forum_topic/finley_song_2005
The 2007 Finley Award Winners
Best Play
My Very Own Story - Darlington Theatre Players
Second Place Play
The Vagina Monologues - Playlovers
Third Place Play
Picasso's Women - Blak Yak Theatre
Best Musical
Cabaret - Wanneroo Repertory
Second Place Musical
Eurobeat - Playlovers
Third Place Musical
By Jeeves - Roleystone Theatre
Best Director
Katy Mitton - My Very Own Story - Darlington Theatre Players
Best Actor
Dean Schulze - Art - Old Mill Theatre
Best Actress - Joint Winners
Analisa Bell - The Vagina Monologues - Playlovers
Gemma Northover - Picasso's Women - Blak Yak Theatre
Best Other Than Lead - Male
Scott Northover - Black Books - Blak Yak
Best Other Than Lead - Female
Jayma Knudson - Pride and Prejudice - Melville Theatre
Best Newcomer
Nathan Da Cunha - Blood Brothers - Melville Theatre
Best Set
Goldfields Repertory - Journey's End
Best Costumes
Playlovers - Eurobeat
Best Musical Direction
Craig Dalton - Cabaret - Wanneroo Repertory
Best Musical Theatre Performer
Dixie Farinosi - Cabaret - Wanneroo Repertory
Elizabeth Crewes Award for Front of House
Murray Music and Drama
Sheila Buchanan Achievement Award
Melville Theatre Company - All productions in 2007
Brian Maddocks Adjudicators Youth Theatre Award
WA Stage School - How To Succeed In Business Without Really Trying
ITA Life Memberships were awarded to
Kerri Hilton
Kimberley Shaw
Hall of Fame Award
Joey Leonard
Top Ten Plays – no particular order
Stirling The One Day Of The Year
Playlovers Vagina Monologues
Old Mill Art
Melville Pride and Prejudice
Mandurah Vagina Monologues
KADS Bus Stop
GRADS Birthday Party
GRADS The Importance of Being Earnest
Darlington My Very Own Story
Blak Yak Picassos Women
Top 6 Musicals –no particular order
Darlington Jesus Christ Superstar
Melville Blood Brothers
Playlovers Eurobeat
Roleystone By Jeeves
WA Stage School How To Succeed in Business Without Really Trying
Wanneroo Cabaret
Adjudicators Certificates
1. Tim Prosser – Impressive Committment to Set Design and Dressing for several productions in 2007
2. Goldfields Repertory – Impressive Achievement In Lighting – Journeys End
3. Blak Yak – Ambitious Set Dressing – Black Books
4. Garrick Theatre – Achievement in Makeup – House of Frankenstein
5. Playlovers – Impressive Achievement in Technical Wizardry – Eurobeat
6. Old Mill Theatre – Ensemble Work – Necessary Targets
7. Goldfields Repertory – Outstanding Attention to Detail and Continuity in Costuming - Journey's End
8. KADS – Creation of Atmosphere – Bus Stop
9. Andrew Dobosz – Achievement in Sound – My Very Own Story
10. Playlovers – Artistic Use of Lighting – The Vagina Monologues
11. Blak Yak Theatre – Innovative Staging and Presentation – Picassos Women
ITA - 25 years since incorporation in November 1984
Yes, its hard to believe, particularly those who have served for many years on the committee.
It has come a long way from the early days of having a hand typed newsletter that a handful of people received by mail.
There was a thread (which is no longer visible) proposing an alternative awards body be set up.
I am not proposing this, but have another proposition.
Perhaps it may be time for a meeting of members, in a "thinktank" session for want of a better word, to see where the organisation has been, where it is now, and perhaps to examine new directions for the future.
I am not proposing an overthrow, or to raise peoples hackles, but I think that all organisations need to revisit their origins and aims, and examine if, over time, some of those aims or goals are still valid or viable.
This thread is to put that thought out there, to evoke discussion that may lead to discovering a new sense of purpose, and perhaps some new directions.
I would be interested what others may think of this idea...and please keep it polite and constructive, we have had far too much petty and spiteful behaviour on on this site of late.
I would be interested in others constructive thoughts.
Regards
Robert.
ITA Forms
A range of ITA forms including membership are provided here for members, prospective members and member companies.
2009 Finley Entry Form
The 2009 Finley entry form.
Remember to get the entry forms in 3 weeks prior to your season commencing.
ITA Link Newsletter
The Independent Theatre Association publishes a monthly newsletter, the ITA Link. Copies of the newsletter are provided here as a free community service.
2008 LINK Newsletter
The ITA LINK Newsletters for 2008 are available for download
August 08 to February 09 Newsletters
you can subscribe to the LINK electronically at no cost and receive it mid-month OR join the ITA for $25 and get the Link posted to you as a hard copy of electronic copy at the beginning of the month (that's 12 issues)OR wait till the end of the month when it's posted here.
Contact itaperth@gmail.com if you'd like to subscribe, have any questions or if you have any information you think we'd be interested in publishing. We really need information and photos to help keep this publication alive and interesting.
Looking for work? New improved version
This is what every new person will get in reply to work wanted posts.
If you're from overseas, check this out first/last/whenever:
http://www.theatre.asn.au/book_page/coming_from_overseas_where_to_start
Nobody on this site can give you work. If they have roles available, they will be advertised here, or elsewhere. Big name directors and producers don't visit this site, and won't read your work wanted ad. So if you think by posting two sentences about how you want to get into the industry is going to work; it's not. IF YOU EXPECT THAT ONCE YOU POST A WANNABE ACTOR THREAD SOMEONE WILL CALL YOU WITH A MOVIE/TV ROLE, YOU ARE SEVERELY MISTAKEN. Hard work, good research, time and effort will get you into the industry, so do yourself a favour and follow the below advice.
PLEASE PLEASE PLEASE use the links at the top of the page (companies, auditions, FAQs), before posting a "work wanted/how do I get into theatre" thread. There are lists and lists of companies, all over Australia, as well as auditions. The SEARCH function is the best way to find what you need to know, BECAUSE WE'VE ALREADY ANSWERED THESE QUESTIONS BEFORE, and it really DOESN'T matter where you're from, how much experience you have or what you'd like to do. The answer is always the same, because the question is ultimately the same.
Take a look at our FAQ section for an excellent article on how to get an agent and what to expect from them.
http://www.theatre.asn.au/blog/labrug/finding_an_agent
Furthermore, please see these threads, which lists some excellent points on how to get started in this industry.
http://www.theatre.asn.au/green_room_gossip/hallo_lovely_peoples_nathan_is_in_the_lounge_im_new
http://www.theatre.asn.au/book_page/best_places_to_look_for_professional_theatre_auditions_and_tech_admin_work
You may also want to read this thread, which discusses why your 'work wanted' posts will not help you get a role:
http://www.theatre.asn.au/node/2032
And another excellent discussion on young actors looking for work, and how best to tackle it:
http://www.theatre.asn.au/node/8867
And this thread shows you just what happens with your work wanted posts - nobody replies to them!
http://www.theatre.asn.au/node/8701
If you want to get noticed, do your research!
The link to the best places to look for pro work is in particular a good one for both techies and actors; it contains my list of links to hundreds of Aussie theatre-related sites, as well as sections clearly marked for job hunting.
If you insist on posting a 'work wanted' thread: PLEASE list your location, your age, and your level of experience, so we can offer more specific and relevant advice to you. The more info you give, the more we can help you.
Keep in mind that asking for help isn't enough: you need to tell us what kind of help you need and be a little more specific about your questions. We can't help you if we don't know what you're thinking or wondering. An example is:
http://www.theatre.asn.au/billboard_bulletins/i_need_help_finding_an_agent_0
Don't forget, if no one is willing to give you work, there's nothing wrong with creating your own. Get a group of friends, fellow students, colleagues, or townsfolk together - put on your own show. Write your own plays. Learn choreography, music, or whatever skills you can. Even if you're an actor, do some tech roles; they will add to your CV, give you a new outlook on how a show runs, and allow you to do more.
Another great tip comes from one of our regular members, who notes that auditioning isn't the only way into acting:
http://www.theatre.asn.au/comment/reply/28403/41566#comment-41566
The wider the variety of roles you take on, the more you can produce your own work, and have it run into a profit (though, of course, not a guarantee that it will), and the more likely you'll be hired anyway. If you don't know how to do it, do it anyway (unless of course, it's one that requires a certificate/licence to do so). Everybody in this industry is creating their own work because there's not enough to go around. If you're really keen, it won't stop you from finding a way to create a show.
For those techies out there, some of the above may not apply. Feel free to contact me for more specific advice about getting tech roles, as there are a number of things I can suggest.
(Improved version, updated 03 Oct 08)
A dream career in the arts - you need to have a plan
I love talking to young artists. I love your passion, your determination and your optimism. Many of you can paint me a vivid and detailed picture of just how it will be when you ‘make it’. The power of such a dream cannot be underestimated.
What I notice is that many of you do not have a clear plan as to how you are going to get there. I can tell you this with absolute certainty; if you don’t break it down to the specific steps and take specific action, your chances of success are very, very low.
There are two parts to achieving the big dream. There is who you need to be and what you need to do.
You need to be talented, passionate and committed. These to me are givens. You also need to be focused, determined, disciplined, certain, resilient, courageous – I could go on.
I believe it is imperative to have a strong sense of who you really are as a person, what you truly want in your life and why it is so important to you. You need to take the time to ask these questions. This will give you the ‘inspiration’ to do what you need to do time, and time, and time again, to achieve your dream.
It has been said that given a BIG enough WHY, the HOW will take care of itself.
The next step is to map out the plan to achieve your dream. Map out each step along the path.
Firstly, ask yourself; where am I now? You need to be really honest and also really encouraging – your own best friend!
Then ask… What is the next step that I need to take? It may be to get a singing teacher, or get a lead role in an amateur show or an audition for a professional show. If you are being honest you will know what the next step should be.
Write a SMART Goal. If it is not written down it is still a concept that you don’t need to action.
S = Simple and Specific
M = Measurable
A = Attractive and As If Now
R = Realistic
T = Timed
So a SMART goal would go something like this
It is November 1st 2008 I am so excited to have landed my first lead role in an amateur musical theatre production. I love what I do and am so proud of my achievements.
The goal is simple and specific; you can measure whether it has been achieved, it is timed and it is stated as if you have it now. Only you can decide if it is realistic and attractive!
Then break it down into the specific actions that you need to take to achieve your goal. Allocate adequate time for each step and DO IT!
Do the practice, learn the lines, make the phone calls, have the courage to go to the audition. Do whatever it takes to have your goal real in your life. Look at what you have written down EVERYDAY.
By all means dream. Visualize that you have it now in you life. Feel it. See it. Hear it. Say your goal. Love it. Visualization works.
More importantly TAKE ACTION.
I can tell you this with absolute certainty; it won’t happen if you just sit there!! This article was written by Shiona Long – Specialist Success Coach for the Performing Arts.
In an email I had from Shiona recently...
My business has changed a little from when that article was submitted. I am now working as a life and career coach with a special focus on the arts and not for profit sector, in particular for women who want to make a difference in the world in their chosen field and want the support to make their dream a reality. My background is as a musician, music and drama teacher, arts/not for profit manager and now a coach and trainer.
I am now operating under the new business name Authentic Success with the e-mail shiona@authenticsuccess.com.au my web address is www.authenticsuccess.com.au although it doesn't necessarily reflect the changes I have mentioned above. My direction is becoming clearer to me the more I work in this area, which for is very much part of the process that I need to go through in order to assist others.
I am still more than willing to assist young artists in anyway that I can - time permitting of course.
I look forward to hearing from you,
Warm regards,
Shiona Long
Coming from overseas... where to start?
Created 11 Aug 2008, updated 31 March 2009
First you should look at the 'Looking for work' FAQ:
This is mainly aimed at young actors, which probably won't apply to most newly arrived people from overseas; unless you're only looking for amateur roles. Although usually I don't encourage work wanted posts, newly arrived folk looking for professional roles are welcome to do so because it not only introduces you to us, and vice versa, but assists us in providing more specific advice to you, your skill levels, and giving info about the location you intend on being/are in.
This site is mainly aimed at an amateur community, and therefore most of the people and info pertains to that side of theatre.
It should also be noted that Australia has vastly different industries depending on where you are. Most of the work can be found on the Eastern side of the country, particularly Sydney and Melbourne. Sydney is more of a professional, venue-oriented industry, whereas Melbourne is more fringe and small group oriented. However, there are also vibrant industries in Adelaide, Brisbane and Perth, as well as elsewhere in the country. Each capital has its own unique pros and cons; so telling us where you are/plan to be will help us immensely in offering decent advice.
Generally speaking, you should plan ahead and look for work before arriving: the professional industry is small and roles are difficult to find, especially if the country is new. The following should help you a bit in finding out where the jobs are.
This is information provided by me after four years of running a free ezine that included jobs, and two years working at one of the top arts publications in the country. In that post is a set of bookmarks made freely available to all who want it. It lists many of the professional companies, venues and groups in this country (all for pro theatre only) and is set out in easy to find sections. There's one section called 'job hunting' which is very good to use to hunt for work in a range of areas; both tech and acting.
Another good tip is to find out when and where local festivals are being presented. Large ones include the Melbourne Fringe Festival (Sept-Oct each year), the Melbourne International Arts Festival (Oct-Nov each year), the Melbourne Comedy Festival (Mar-April each year), the Adelaide Fringe, and so on... These festivals not only provide a lot of opportunity for professional roles (both tech and acting), give you some insight into what kinds of shows and groups are performing; and attending a show or two is always a good way to introduce yourself to like-minded people. Additionally, all major festivals offer voluntary roles, and is an excellent opportunity to not only make some good contacts, but also to get a little Aussie experience under your belt in a professional setting.
For those looking for paid internships, you'll find that Australia doesn't work the same as the US or other countries - that is, there aren't any. We either have amateur roles or pro roles, but rarely anything in between. Additionally work experience here is usually saved for those who are still at school or university. Generally speaking, if you've worked extensively overseas, you should have no problems submitting a CV/resume to a local venue and seeing if they have any interest. For those actors out there, you should be getting yourself an agent, as most roles are not openly advertised and without one you'll find it difficult to obtain work. There are plenty of articles in the FAQ about finding an agent, where to look, etc.
There are a number of good schools and universities available for training, depending on what you want to do. The most notable ones are NIDA in Sydney (http://www.nida.edu.au/), VCA in Melbourne (http://www.vca.unimelb.edu.au/) and WAAPA in Perth (http://www.waapa.ecu.edu.au/). However, there are excellent courses outside of these three, and you should look into what's available from a range of places. Additionally, there is Australia's only puppetry course at VCA (although a small component is also performed at Melbourne's Swinburne Uni, http://www.swinburne.edu.au/), and NICA (also Melbourne, http://www.nica.com.au/) is our country's only education institution for circus arts.
Many of your questions may also be answered in other threads that cover this topic already:
And of course, please read the rest of the FAQ for information on agents and where to find them. There's a number of good articles there on who to avoid as well.
Self producing theatre
Anyone who is involved in theatre may at some point wish to create their own performances. Self producing a show can be one of the most rewarding yet difficult things you can do. So here's some tips on how to go about it.
If you're under 18, please get an adult to help you. Yes, it's possible to self-produce when you're a minor, but there may be legal or safety issues involved, and you should definitely work within the paramaters of help from a parent, teacher or local drama professional.
First, a self-produced show usually means it is 'profit share' or a 'cooperative'. What this means is that the cast and crew put their own money into the show (or get a sponsor or funding, but it's usually their own money) and then equally share the profits once they are made. MEAA has a good example contract for profit-share performances, which shows you how to make everything nice and legal. (If it's not available for download at the MEAA website, contact them and ask for a copy)
You may be wondering how much money you'll need to produce a show; this is dependant on a number of factors. I can self-produce a show for $3k, but you may find you need more, depending on venue, marketing, insurance and other costs. Create a budget, with all your costs estimated - everything, right down to the last stamp.
"You need to produce a total budget, with every cost itemized.This will give you a dollar amount which is your 'cash cost'.There are often percentage costs like royalties.You divide the 'cash cost' by 1-royalties[e.g..1] which will give you a 'break even' figure.You then express every cost,wages,publicity, etc as a percentage of the 'break even'.The costs such as wages can be taken up as a percentage by the participants and you invite investors to buy the percentage to cover the costs which have to be paid in cash.It is a good 'litmus test' of the show if it appeals to investors.I suggest that you limit investors to around $1000 each so that there is a limited liability.At the end of the show everyone gets a percentage of the gross.Using this method is fair to everyone involved."
Don't expect to break even or make a profit from your first show - or your first few shows! Many people decide to put the money back into the company, instead of taking it away, in order to ensure the company gets a good headstart for the first few productions.
Budgets is semi-discussed in more detail here, with a description of how one of my shows was done:
In terms of starting a company, you will want to pick people to work with who you are sure will be reliable - friends and colleagues are a good start, but do keep in mind that money can strain relationships. You don't necessarily need to have a person who does marketing, and a person who does acting, and another person who does lighting. While it may help, you might prefer the entire company to be made up of actors, or dancers, or even all techies. (Red Stitch in Melbourne started as an actor's group only, and hired freelance designers to do the other stuff when it came time to present the show)
A big thing to remember is that if you owe money at the end of the show, then you are all liable for that payment - that is, if you can't pay what's owed, then you all have to pay it. Make sure whatever agreement you create (and make sure it is written in a contract) covers what happens when money is owed, and what happens when you make a profit, and what happens when there is a dispute. This is why the MEAA contract comes in handy.
Are there any legal requirements or business models that you have to have? No. You don't necessarily need an ABN, business name, or registered legal entity. You will need insurance, and it's a good idea to have a written agreement of how money is dealt with. But no, you don't have to have a business model, name, ABN, or other such thing.
However, some people find that gaining sponsorship and funding is easier if they are a registered company (an incorporation for example). You may find that setting up a bank account is handy (banks offer accounts with NO MONTHLY FEES IF YOU CAN PROVE TO THEM YOU ARE NOT FOR PROFIT. Check out 'community' bank accounts at your local branch); just make sure you nominate one person in your group to keep track of finances. If you'd like some legal advice, contact the Arts Law Centre of Australia, as they provide advice specific to any arts law topic you need help with.
Next, you will need to find out what kind of insurance you will need, how much and where to get it from - don't think you can do without it. The number of accidents that happen - you will, even if it's just to cover your ass. Many venues also won't hire to you unless you have insurance, so it's very important to make sure you have it.
From there, you create your show the same way you create any other show, but in this case, the performers may also do the technical stuff; organise publicity, the venue, etc. It may help to nominate one person who is responsible for tech, one for marketing, and so on. You may want to have a more collaborative, equal-say group, but in times when you argue (and there will be times), one person who is in charge of the poster design (or whatever) can put their foot down and have the final vote. This is especially handy in case there are too many cooks or things get out of hand in terms of deadlines. If there are no tech-minded people in your group, find a production manager or stage manager who is experienced in fringe performances, and ask them to help you. (Don't think you can get away with creating a lighting design when you don't know anything about lighting; it's not only dangerous, but won't help you create the best performance possible)
Much of self producing will be learned along the way. Most people find self producing confusing, but my guess is it's only because it seems like there's a lot to do; and many people, particularly actors, do not know how to go about doing the things that have been done for them. Ie. finding a venue (another topic for another day) Find out who the most organised person is in the group and nominate them to be the stage manager or production manager.
In terms of marketing, you will not only need to contact every family member and friend, but you'll need to compete with other shows and bigger budgets. Word of mouth is usually the best strategy. Approach your friends, family or fellow students. Ask your local teachers for help and make deals for their students to come at cheaper prices. Find your local community centre, or arts centre, and talk to them. Ultimately, meeting and chatting with people face-to-face will better your chances at anyone being interested.
Most people self produce because they want to write their own script, or are tired of using the same old plays. Another strategy is to take a local issue and make it into a play. Ie. Something controversial to your town, or just a local historical story. The more local and personal the story, the more likely other people will be interested in it; especially if the community writes, performs and produces it themselves.
Whatever you decide to do, make sure you decide who keeps what copyrights - if writing your own play - and how people can use them. If you want to use an already published script, do make sure that you can use it; don't just assume you can. Find out if the play is in public domain (ie. everyone can use it without paying royalties), whether you need to obtain rights and pay royalties, or whether you need to obtain rights and it's royalty free. The same goes with any piece of music you hope to use, and rights can be applied for from APRA.
... Once you have the script, it's time to rehearse. Three months is generally enough for amateur or professional companies, but I recommend taking four to five months if it's your first self-produced show. Mainly because you'll have a lot more to do than just rehearse. This time must also be spent making sets, collecting props, following the money, booking seats, etc etc. You will most likely be working a 'normal' job and rehearsing on weekends or in the evenings. Time can be used up very quickly and three months may be too fast for your liking. Coordinating schedules is perhaps the most difficult thing about producing any show.
Finding a venue can be difficult, but if you know what you're doing, can be done. If you don't have a stage manager or technical director, now's the time to get one. A TD will help you find a venue that is appropriate for your needs, safe, has proper equipment, and is affordable. Don't forget; you'll all need to be able to get to the venue, so something central to all involved would also be ideal. Expand your horizons: venues can be pubs, restaurants, cafes, libraries, scout halls, churches, your own backyard... just make sure you have permission to use the space according to your performance needs, make sure to discuss everything clearly with the venue supervisor, and make sure that it's legal and safe to perform there.
The hardest thing you might find is concentrating. If you're working with a bunch of friends, it's very easy to slip into a silly mode, muck around, or just spend time catching up. I found the best thing to do is spend 15 to 30 minutes at the start of rehearsals to catch up, and then move into rehearsals. If you can't stick to a proper schedule like that, then don't catch up at all, and have a mindset when you enter rehearsals to only rehearse! It may be necessary to appoint one person - perhaps whoever's stage managing - to make sure that rehearsal starts on time and is kept on track. This will really help your time management and help your target opening night be achievable. Additionally, make sure at least one person is keeping track of blocking, lines, etc. with the use of a prompt copy. Getting in a friend or colleague to act as stage manager - even if you're not using one on the night - will help immensely, as they can often add an outside eye and keep things on track. The same thing goes with finding someone to act as co-director or director.
Self producing can be extremely nerve wracking. Most performers and groups I've worked with spend a lot of time obsessing about how the show is going to be accepted by friends, colleagues, the public, and critics. The most important thing I could ever advise was... have fun! Yes, it's your script and your show, and putting your thoughts and emotions out there is risky and scary - but if you stop having fun, that's when the show is most likely to fail.
Listen to others- there is always going to be someone with greater knowledge than yourself- blowing off other's constructive criticism can be bad, because you'll lose sight of your learning curve and get stuck in a rut. Try to take everyone's ideas on board, listen, read any reviews you might get so you can improve on things next time.
That's what it is all about, learning a new skill and improving on it next time. There's always something new to learn.
As a last word on dealing with people, you may find at some point the group being strained by a bad relationship, bad dynamics, bad timing, or simply bad luck. Be understanding of the problems and difficulties that face each other, whether on stage, at home or at work. At some point, you may either need to discuss postponing an event, cancelling it altogether, replacing someone or kicking someone out. The better and clearer the communication between all members, the better the group will work together and the less likely you'll have to deal with someone who is uncooperative. If, at some point, someone doesn't pull their weight, you'll have to remind that person that a show is a commitment, even if there isn't a definite heirachy, profit or wage, or punishment for being bad.
Anyway... One thing I highly recommend: make sure you keep a copy or two of the program, poster/postcard or any other marketing you make. Clip and keep copies of reviews. Make sure you get a friend or photographer to take photos during the show. Get at least two shows videotaped (just in case something goes wrong one night, you can choose the better version) and make a DVD out of it. This is not only an excellent resource for any show reel or resume, but also a good way to archive your work and remember it for years to come. If you have trouble remembering to take photos, then get someone outside the crew to do it for you. If you're particularly keen you can even take shots of you building the set, trying on costumes, etc.
Want more info: Check out Lyn Wallis' "In Good Company: A manual for producing independent theatre", available from Currency Press.
You may also want to check out this thread, which lists some questions that you might have already in mind (there's a particularly good post from me, which covers a *lot* of stuff):
Article created 30 Nov 2008 by Na. Updated 5 April 2010
Technical and production topics
A list of useful topics for the techie or designer.
Effects and Theatre Lighting Resources
If you have any questions about theatre lighting or want to add some details or links, add your post below and I will start up a seperate title for it.
Thanks
Don Allen
"Lightning" effect on stage - any tips for equipment?
Hi,
Staging a production of Agatha Christie's And then there were none.
Am hoping to have the visual effect of flashes of lightning. We hope to syncronise this with an audio track, however this is not necessary. small-medium theatre, 200ppl.
Has anyone had any experience, or know of any really good equipment? I am trying to avoid the standard "flash x times a second" type of strobe light.
Reply here, or email me at sono_maschile@yahoo.it
Thanks,
adam
Clouds on stage: Seeking advice from techs
Can anyone offer the best /most practical way to create the illusion of clouds on stage? Our forthcoming production finds the cast in heaven, standing on top of the clouds. We figure dry ice may be the way to go?? Help!
cheers
John Grimshaw
A lad in sane productions
How many Dimmer Channels ?
With the offer of state funding in WA for amateur theatres, the decisions on what to apply for need researching and some professional advice is required to explain the theatre lighting requirements of amateur theatre groups.
One ideal "Square One" lighting design, (so called because if you put everything back to "square one" you will be able to provide good lighting for any basic production ) is to:
Divide the stage into the nine basic acting areas ie DSL, DSC, DSR, MSL, MSC, MSR, USL, USC, USR.
Allocate two key lights to each area (the McAndless method see lighting links, this takes you to 18 lights from the front. at 45 degrees to the centre of each acting area.
Allocate a back light to each acting area, directly behind the centre of each acting area, this takes another six channels
You now have an ideal lighting design that uses 24 dimmer channels for individual control of each light. In a usual amateur theatre situation, you will have to parallel lights if you have less dimmer channels.
You now need to allow three dimmer channels if you have a cyclorama and additional channels for specials, so the ideal number of channels takes you up to 36, which is three dimmer racks, of 12 channels each, with a channels capacity of 2400 watts.
Any questions ?
Jands Older Dimmers Capacitor Fires
There is a technical Bulleting on the Jands web site TNJLT094.DOC http://www.jands.com.au/download.nsf/getfile/E8AB225AE7424D2DCA256EFD001D0ED4/$File/tbjlt094.pdf Jands HP, FP, GP and 4 Pack dimmers experience failure of some types of X2 mains bypass capacitors. See link to identify suspect capacitors and read what to do. You need to have a restricted electrical license to safely carry out this work.
Don
Lighting Standards in Professional Venues
So long and thanks for all the fish. Now where have I heard that before ?
On Line Resources: Stage Lighting 101 - Bill Williams - http://www.mts.net/~william5/sld/sld-toc.htm - this is an excellent book and covers the McAndless method of key lights which is the basis for most drama lighting.
Books: Stage Lighting Handbook by Francis Reid - up to sixth edition - 792.025 ISBN 0713634391 (pbk.) - An excellent book for beginners that covers all aspects of stage lighting.
Stage Lighting by Richard Pilbrow - 792.025 ISBN 0289797632 - Has an invaluable reference section at the rear of the book covering lantern data, gel cross refences etc, good book to have.
Concert Lighting, Second Edition : Techniques, Art and Business (Paperback) by James Moody ISBN 0240802934 - James Moody invented the PAR can - very usefull book for adapting and applying rock lighting for stage shows, especially musicals
Stage Lighting Step-By-Step by Graham Walters 792.025 WAL - ISBN 1-55870458-2 - basic techniques to achieve professional results. An american book that covers all aspects of theatre lighting, has lots of coloured photos and examples, very practical, shows how to do special effects. ***** five stars
Save yourself some money by getting theatre lighting books out of your local library, use inter library loans, to eveluate the book before you decide to buy it.
West Australian Theatre Regulations
The Health (Public Buildings) Regulations 1992 covers amateur and professional theatre as well as schools as they are all public buildings. You can access the regulation onlie at the State Law Publishers PDF document
- Safety chains are compulsory, it covers seating regulations, venue capacity, exit signs, stage curtains, dimmer supplies. One of those regulations all WA theatres need to be familiar with. You can buy a hard copy from SLP.
Safety in the theatre
Here's some previous topics/links on safety in the workplace, specifically for theatre. Please note: some of these are old and should be checked against current law and regulations:
What construction method do you use for your set flats, why ? how ecconomical is it ? how practical is it ? Let others share in your successes and failures. Don't be faraid to say what doesn't work as it will save others travelling down that path.
This came up in discussion the other day and the times they are a changing.
The Garrick theatre have a system of using pine frames using 75 x 42 or 90 x 42 timber, 3.3 metres high which takes them to their stage beam height. These frames are made in 300 mm and 600 mm widths to suit 1200 x 2400 mm ply sheeting. Fir doorways, you use the opening between two flats as you can attach the door hinges to the side of the flats and fill in above the door. The solid frames also allow you to attach cupboards and bunk beds to the flats. The Garrick screw their frames to the floor and brace to the walls and stage beams, which gives a solid set so doors can be slammed.
Playlovers have a system of bracing their flats to the walls using telescopic steel tubes with wing nut set screws. These are attached with bolts to a dexion strip running all the way around the stage walls. This allows for quick and flexible set construction. Tony Ridout built this
David Ashton at All Things Theatre has a metal framed system that are skinned with wood and optionally covered with canvas for a that original flat texture.
Kwinana Theatre Workshop use wooden frames with mdf skins.
Understanding radio mics
As this is the tech talk column I thought it may be a good idea to cover some of the common problem areas and start with this common problem.
Now you will see mics with 16, 32, 300, 700 or 1440 channels, this does not mean that you can use anything like that number of mics together.
Radio transmitters are like musical instruments [in that they produce harmonics which are multiples of the base frequency], and these harmonics interact with each other to restrict the number of usable channels.
As an example, the Redback 16 channel mics have 6 channels which can work together, the main mics I hire are the 700 channel series but only 16-17 channels will work together.To get more channels I am now getting in the Sennheiser 1440 channel units and while they are coy about exactly how many channels I will get, it should be 24+.
Now other areas to consider are interference from other radio sources like in ear monitors, which tend to use the same bands and radio talkback systems which I am now also importing as prices are lowering.
If you are using half a dozen radio mics there is not likely to be a problem but once you start adding talkback and in ear monitors you will need some specialized assistance.
And as I said in an earlier piece, the radio part is only the beginning, the complexity of multi mic mixing a live show added to the potential harmonic interference means that rehearsing with the full system is crucial and failure to do this and find potential problems can lead to disaster.
In short, radio mics are not a panacea so please bear this in mind.
'White space' debate?
For the 'Nios Bios' that may or not effect us eventually?
Beside the POHM's in London, the Yanks are now looking into to wireless & the sharing fight, from various quarters & interests.
Not that we will have to worry too much here for a while anyway?
But as usual, when they flush their dunny, you can guarantee, it will empty someones bath here!
Hi everyone! As a musical theatre dork currently in highschool and contemplating the future, I thought it would be nice to have a forum for those in a similar situation to discuss what tertiary options are available in the field of music theatre, compile some sort of comprehensive list of degrees and vocational qualifications, and maybe have a bit of a talk about things like audition requirements too.
This afternoon a friend and I started compiling a list of all the music-theatre specific bachelor degrees in the country. Here's what we have so far!
Ballarat Arts Academy, VIC - http://guerin.ballarat.edu.au/ard/artsacademy/perf_arts_prospective/voice/index.shtml
National Institute of Dramatic Art, NSW - http://www.nida.edu.au/default.aspx?ArticleID=1688
Western Australian Academy of Performing Arts, WA - http://www.waapa.ecu.edu.au/courses-and-admissions/our-courses/disciplines/music-theatre
Central Queensland University, QLD - http://musicandtheatre.cqu.edu.au/FCWViewer/view.do?page=7837
Victorian College of the Arts, VIC - http://www.vca.unimelb.edu.au/bfamusictheatre
Australian Institute of Music, NSW - http://www.aim.edu.au/courses/music-theatre/undergraduate/bachelor-of-music.asp
There are probably more. Here's a couple vocational courses we came across.
APO Arts Academy, VIC - http://www.apoartsacademy.com/MusicTheatre/
Australian Institute of Music, NSW - http://www.aim.edu.au/courses/music-theatre/undergraduate/diploma-of-music.asp
Showfit, VIC - http://www.showfit.com.au/
Western Australian Academy of Performing Arts, WA - http://www.waapa.ecu.edu.au/courses-and-admissions/our-courses/disciplines/music-theatre
Principal Academy of Dance and Performing Arts, WA - http://www.padance.com.au/index.php?option=com_content&view=article&id=19&Itemid=73
Hopefully if we all pitch in this can turn into a handy resource for any Broadway babies out there who want to train in MT once they finish school. :D
The Official Guide to Surviving Awful Productions Starring or Produced by Your Friends, by Daniel Kershaw
Ever had the misfortune of going to a show produced or starring one of your friends only to find IT WAS A PIECE OF SHIT? Then this guide is for you. These ten tips will assist you in avoiding and diplomatically dealing with your friend’s show, which, let’s face it, sucks more than Courtney Love.
1. The truth is overrated. Remember your parents and teachers telling you that the truth must always be told, even if it gets you in trouble or is hurtful to someone? Now, I’m no Rene Descartes, but who else can see something fundamentally wrong with this statement? Who wants to hurt someone? Who wants to get in trouble? Not me. So, when your friend looks at you with those puppy dog eyes and asks you what you thought, well, you just tell them exactly what they want to hear, which is roughly, “The show was absolutely brilliant. It was hard hitting, yet funny. It also intellectually dealt with the themes in a very creative and original way. And your performance was outstanding. So raw and animalistic. I really thought I was watching someone else up there. Oh, and your co-star, the blonde with the massive rack, she wants you BAD!” Think you can handle that? I know, I know, like myself you probably have some self respect and could not whore yourself like that on a regular basis, so let’s move onto step two.
2. If you’re not good at lying, be as vague as humanly possible. Say things like, “it was fun” and “you looked like you had a lot of fun up there” (even if it was at my expense). They don’t mean anything, but they sound like you liked the show.
3. Do your research. Ask people who have seen the show and find out whether it’s any good, before you decide to see the production. If the consensus is that it’s up there with the artistic achievements of Ed Wood, then make a plausible excuse for not going. Remember this important fact: elderly family members can only die once.
4. Consult Gordon the Optometrist. He sees and reviews nearly every show in Perth. Now, Gordon’s reviews can be a little misleading, because he seems to like everything, but if you follow my Gordon-scale, you will be able to discern what he REALLY thinks.
- If Gordon says it’s the best theatre he has ever seen, then it’s probably the best show he has seen in a few months.
- If he says the show is excellent, but forgoes mentioning the acting overing technical aspects, then there must be a few awful performances in the production.
- If he discusses the script for most of his review and little else, that means that it was well written, but the production was lousy.
- If he gives it less than three and a half stars out of five, it would be better to stay home and watch television.
- If Gordon doesn’t like a show, then it must be really shit.
5. If you find yourself watching a train wreck of a production, there are only two options. 1) Say you are unwell and leave. 2) Leave during the intermission, running to you car as fast as your fat little legs will carry you. Hopefully your friend wouldn’t have seen you in the audience, so you can tell them you didn’t go. They might be a little upset you didn’t come to support them, but trust me, it is better than talking about the show.
6. Make fake commitments. Tell your friends you have work, even if you’re unemployed. Tell them you have a rehearsal that night, even if it’s Saturday. Tell them you’re going to visit your invalid grandmother, even if you hate the old bitch and wish she’d kick the bucket. They might think you’re lying, but they won’t actually say it to your face.
7. If you know the show is crap, yet your friends insist on giving you Facebook invitations to it, always mark that you are attending and then simply don’t go. Saying yes to the invitation is just as valid as actually turning up.
8. If you haven’t managed to weasel out of a terrible performance, then you’re going to have to stoically face your fate like Christians in the Colosseum. However, all hope is not lost. After the show has finished and you have been left in a near catatonic state, wait for your friends with as many alcoholic beverages as your puny little hands can hold. ALL ACTORS HAVE SELF ESTEEM ISSUES AND LIKE TO DRINK TO MAKE UP FOR THEIR INSERCURITIES. Exploit this. Before they ask you what you thought about the show, make them drink at least two standard drinks. Change the subject, make them talk about themselves (thespians love this), anything, just don’t let the topic of your opinion surface until they have had something to drink, or else your plan is ruined. After they have consumed a reasonable amount of alcohol, you can pretty much say anything and they won’t be as upset and you might even find they will start agreeing with you, because the alcohol has brought out their inferiority complex.
9. If you hate your friends show, don’t post your thoughts on theatre.asn. Even if you have written an eloquent critique using the epitome of the English language, they will be screaming effrontery five minutes after you have posted. Seriously, posting the truth on this website destroys relationships quicker than stealing, backstabbing or adultery ever could. Remember that slinging match between Greg Ross and Stinger? Well, not many people know this, but before that debacle, they used to be red hot lovers. So, I hope this is a lesson to you all.
10. If you’re friends constantly keep producing crap, stop being friends with them. I know it sounds superficial and maybe I am, but I’d rather lose a friend then be subjected to three/four awful productions a year.
Writing a Resume
Hey Everyone,
I've been going for a few auditions of late, and I never know what to give to the panel when they ask for a resume.
I've already got a day job, but I consider musical theatre as one of my hobbies and passions.
The only thing is, I don't have any previous experience in musical theatre, so what do I put on my resume?? I haven't even had any formal singing tuition or dancing tuition.
Seems pointless giving them my existing resume which is basically a run down of all the jobs I've had (not related to performing arts!)
Notes from a Passionate Playwright - The Journey of "The Myth of Julian Rose".
Theatrical friends and peers,
It has been a while since I blogged on this site and already I can hear the trolls emerging from their dark and sordid caves to begin their hateful rants. The subject on which I would like to discuss today, is myself.
In the world of theatre, we have the tendency to criticise one another and suggest we could ‘do it better’. One of the areas which this is prevalent is writing. Everyone thinks they are a writer. I hear it a lot. But until you actually start typing away at something, all the best ideas in the world are just going to go to waste. Then when someone responds to the call of arms for a locally written show, and actually writes something, no one is prepared to make a financial risk to back them. And then finally, if you are the very small percentile that does get a show put on, people come and give their opinions, which as we know can be devastating for emerging artists. I’ve been through all this. I wrote my first play without even knowing what I was doing. In hindsight, it wasn’t the best piece of theatre, but it was definitely a good start. Writing is a craft. Much more I believe, than acting, which can come natural to some people. Dialogue and scene construction are very hard things to master. Having written three plays, I still have a lot to learn, but I have persevered with the craft, even when I was told my work was rubbish and I no one would want to work with me. And I don’t think I am going to hit my peak for at least another decade or so.
Which brings me to the point of this blog. I have written a show that will performed at the Blue Room Theatre between June 9-28 in the Studio. It’s my ‘big stage debut’ (which is ironic considering the stage is quite small). I asked a very talented (award winning in fact) and established director, Marisa Garreffa, if she was interested in working with me. She read a rough draft of the play and agreed on the provision I develop it further. I did. And for the past six months I have worked very hard on the play to get it up to a professional standard. Whenever I look at my work, I only see errors, but others must have see potential, because we managed to get some of the most talented performers in Perth, including James Helm, Glenn Hall, Jo Morris and Sarah Nelson.
So, to say I am extremely excited about this is an understatement. It makes me smile every time I think about it. I just wanted to share my experience with you, if only in passing on this forum. I truly believe this production is going to be something very special and not just because I wrote it, but because of the passion the cast and crew have for this project. It makes me very proud. I would love all of you to see it. Details are below.
--
Mondo Di Corpo and The Blue Room presents the world premiere of new Western Australian work The Myth Of Julian Rose at The Blue Room Studio from 8 – 26 June 2010 as part of The Blue Room Theatre’s 21st birthday season.
Marisa Garreffa returns to the Blue Room to direct Daniel Kershaw’s debut work following the success of multiple award-winning Motortown in 2008 (Equity Nomination - Best Director 2008, Blue Room Awards - Best Production 2008).
Julian, is a man with a disturbing past that surfaces with a vengeance when a Minotaur begins to stalk his family. The Myth Of Julian Rose boldly portraits the effect of maternal child abuse and the fallout of suppressed trauma. Giving voice to the unspeakable, the resulting story is emotive, tragic and chilling.
“The play addresses the fallout of suppressed memory and challenges the notion of confession as a means of healing. If memories are not confronted, they will find a voice elsewhere, in this case, a ten-foot tall Minotaur” – Marisa Garreffa
Starring James Helm, Glenn Hall, Jo Morris and Sarah Nelson with live music and sounds by Tristen Parr, expect a (un)healthy dose of magic realism and contemporary performance infused with circus art in this powerful collision of genre.
Produced by Christina Yiannakis l Visual World created by Karen Cook, Ami McDonald, Bobbi Jo Divitini, Rosie Martin and Colleen Sutherland l Artwork by Deon Schafer
The Blue Room Theatre
June 9-26. Tues-Sat 8.30pm
TICKETS THROUGH THE BLUE ROOM
PHONE: 9227 7005 ONLINE: blueroom.org.au/blueroomseasons
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Please do not take it upon yourselves to unpublish posts. If you receive a complaint regarding content on the website, please be sure to direct people to me personally by passing on my email address (grant.malcolm@gmail.com) mobile number (0401 216 962) or by forwarding the complaint direct to me yourselves.
Thanks again for your help with this!
Regards
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Attention all under 18s
I was just browsing the profiles of people who are members on this site, and have come across some under 18s who have their phone numbers listed. I would just like to suggest strongly that anyone of a young age (or anyone at all really) to remove phone numbers listed in their profiles or on any of their posts - and to not reveal their phone numbers on this site.
There are a lot of dodgy people out there, and it's never a good idea to have traceable information about yourself listed on the net - ESPECIALLY IF YOU ARE UNDER 18. Please, create an email address for free, or use the internal messaging system on this site, as it allows a lot more anonymity and safety on your part.
Some people may not care, or wonder why I'm butting in, but I hope this will serve as a reminder to the younger members of this site of just how much information can be found on the net, and how easy it is for weirdos to track you down.
... Can people please vote for this thread so it can appear on the front page? Thanks!
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Like most efforts to build an on-line community, this website has been anything but the product of one person's labour. However, if you really wished to point the finger at one specific individual, then Grant Malcolm has been responsible for designing, building and managing this site - for free! His object has always been to create an environment in which those with a passion for the performing arts, and in particular australian theatre, can promote their work and share their experiences.
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From 1999 until 2008, Perth-based Internet Service provider, Informed Technology generously sponsored Theatre Australia providing free hosting and support. They kindly provided sophisticated server technology to support this site's features and the friendly Informed Technology staff always responded very promptly to questions and demonstrated considerable tolerance for the trouble we occasionally caused them!
Earlier versions of this site
From the outset it was apparent that simply reproducing details from ITA newsletters or producing an on-line sales brochure advertising the benefits of ITA membership, was neither going to meet the varied needs of the ITA membership nor take advantage of the interactive nature of the Internet and World Wide Web.
A site that would fill these criteria would have to be highly interactive allowing for the maximum interchange of information and a high degree of participation by interested parties. The site would need to be regularly updated and preferably by as many people as possible to share the work load if not the responsibility.
Maintaining such a site using conventional methods would have caused an updating load beyond the capacity of a team of dedicated workers. However, a range of options were available to allow the site to be "served" live from on-line databases. This means that the site effectively updates itself, providing a fresh copy of the latest information everytime a visitor comes to the site.
There are literally hundreds of examples of sites providing information from databasess - search engines are the most obvious examples. However, sites that maximised opportunities for visitor input were not so common.
Simple WYSIWYG (what you see is what you get) web authoring packages help with laying out the original site. But these were quickly dropped in favour of writing the HTML (hyper text markup language) by hand in a text editor.
To give the site it's interactive facilities a range of software was used. The first packages used were Common Gateway Interface (CGI) scripts - text files - written in Perl. The packages included a simple flat-file database manager by Selena Sol used to maintain the What's On, Audition, Library, and Company databases. The highly popular message boards were running on an early "freeware" version of Webbbs by Darryl Burgdorf. The Free-For-All-Links page script was courtesy of Matt Wright and the polls script was from BigNoseBird.Com. All of these marvellous tools were at least free for non-commercial use. They also came with very liberal licences that allowed them to be radically modified to suit the needs of the ITA site.
This site today
The collaborative philosophy of this site is reflected in the choice of Open Source tools for its development.
You'd have to be either a Luddite or Net novice, not to have heard of the "free"Linux operating system. This marvel of modern engineering is a product of the co-operative efforts of the Internet community.
The "free"Apache server software running this site runs on the Linux operating system. The databases are maintained on a "free" SQL database calledPostgreSQL and are served using the "free" server side scripting language PHP.
Until 2006, the message boards ran on a modified version of Phorum, a "free" php-based system. The What's On database was built almost entirely from scratch with some calendar display routines from an Open Source community calendar originally by Rosenet, Inc. The site's search engine was based on a GNU 2 Licenced version of DGSSearch by Digital Genesis but with substantial changes to the search logic. Modification to these scripts and the home-brewed scripts for the Links, Companies and Polls were all done in a simple text editor - often pico or nano in a Linux shell. Images were prepared using the GIMP and IrfanView.
In 2005, Grant began migrating the site to Drupal, an open source content management platform. Drupal provides a powerful open framework for developing sites that encourage community collaboration. Migration wasn't a straight forward process, there were
1,400 companies
7,500 events
4,800 members
21,895 votes in 108 polls
and more than 30,000 posts from the message boards
to be migrated from the old website to new Drupal modules.
A little more than a year later the current version of the website was launched in March 2006 - coinciding with the 8th anniversary of the site's inception.
Three new servers in 2008
In March 2008 Informed Technology sold their business and with very little time to put a solution in place, we were looking for a new home for the website. Adrian at Xenion was very helpful in setting up a virtual server (VM) for Grant but it was always going to be an underpowered temporary solution for what is a very, very busy site. (Just how underpowered would quickly become apparent!) Mark started out helping with the DNS transfer, then some tuning of the VM before finally offering his own VM as a database server to try and keep the site alive while a new server was sourced. A week later a second hand Dell 2650 was installed in the rack at the co-location. When it was switched on it took down the uninterruptible power supply (UPS) and a rack full of servers. A couple of week's later Mark purchased a new server out of his own pocket and Grant agreed to pay for the rack space to get things running more reliably. Finally on 12 May the site was up and running on the new hardware. Mark collapsed in a tired heap, Grant smiled and Adrian looked on from the US and said that it was a good thing.
In case you hadn't noticed, this site was built entirely using Open Source, "free" software. So the next time you are tempted to fork out money for what looks like a fancy piece of software, think twice.
Changing profile pics
Help me !!
I am trying to change my profile pic. I delete the old one, enter the new one, then the old one comes back. I've tried logging off and back on, and whalla, there's the old one again!. Please help before I throw my laptop out the kitchen window !
Companies and Events
FAQ's in this section provide information relating to the Companies portion of this website.
In order to create events such as Productions, Auditions and Workshops, you need to have set up a Company, In order to set up a Company, you need to have registered as a User. It is a good idea to consider who will need access to your company page before creating it.
If you are the sole Company representative, and that is unlikely to change, then using your own personal User Login is probably OK. However, if you are just one in a line of Company Administrators, then creating a Generic Company Admin User may be more ideal.
Before you delete any company, please bear in mind that visitors may already have seen the company details and may return looking for the information you are wanting to delete.
It is often better to update the company details with a notice outlining the status of the company so that people aren't left searching for the vital news that the company is no longer in operation.
Duplicate companies can, and should, be deleted.
In order to delete an event:
you will need to have manager/admin access for the company
once you are a manager/admin of a company, you will notice that an edit tab appears at the top of that company's page.
click on the edit tab
near the bottom of the screen, click on the delete button
you will be prompted once to confirm the deletion.
Editing a company
If you have found a company with incorrect or out of date information, you are actively encouraged to update that company's information.
once you are a manager/admin of a company, you will notice that an edit tab appears at the top of that company's page.
click on the edit tab and you will be able to update the company's details. You will also find that as a manager/admin you are able to assign or authorise manager/admin access to other members.
Request manager/admin access to a company
In order to request manager/admin access to a company:
visit your company's page - try searching on the companies page
on your company's page, click the link labelled request membership near the top right of the screen in the company info block.
If you are requesting membership for a company for which the default admin is currently the manager/admin, you may automatically be assigned company manager/admin access.
Otherwise, your request will be emailed to the member currently listed as company manager/admin requesting that they provide you with manager/admin access.
If you don't receive a response to your request for manager/admin access within a few days, please notify us via the feedback form.
As a company "member" or "manager/admin", as long as you are logged in you will find a link to the company's page appears in your personal navigation area to the left of every page on the site. When you visit the company's page or any event belonging to the company, you will find the request membership link is replaced by links to add auditions, productions, etc.
Selling Your Show
Whether you're looking to promote your production, advertise auditions or capture an audience for your classes and workshops, there are a variety of ways you can use the free services on this website to promote your theatre company its activities and services.
You must be logged in, in order to add event details.
Firstly make sure that your company is registered. Look carefully as your company may be registered under a similar but slightly different name!
Your events will automatically appear in the various calendar views on the website and, within a few weeks of their occuring, will appear regularly in the featured event block.
You may also want to add details of your event to the relevant forum closer to the date.
Why doesn't my company password work?
Prior to March 2006, company entries were managed with a company password.
Multiple company passwords and personal logins and passwords caused considerable confusion.
Companies are now linked to one or more people registered on this site as managers/admins and members of that company. Your personal login and password can be linked to any number of companies with no additional passwords to remember!
In some cases we were able to match existing logins with companies, in which case you may find you already have manager/admin access for the company and that edit functionality together with the ability to add events to that company already appear when you visit the company's web page.
In other cases, we were not able to identify a login for manager/admin access and this has been assigned to an admin account awaiting your request for access.
Did you know you can subscribe to Theatre Australia?
Yes - you don't have to come back to this site to read all the latest and greatest posts.
How?
By using the site's RSS feed, you can be updated via email or an RSS aggregator service.
RSS is like a news ticker, and every time someone posts a new thread, blog entry, picture, audition or production, it gets sent to you. If you choose to subscribe by email, the updates get sent directly to your email account. If you use an aggregator service, like Bloglines, you can read the updates there. You can also subscribe via most browsers.
To use the site's RSS feed, copy and paste the following link into your RSS feed tracker - you should see a link in your email account to add feeds, as well as in any aggregator service.
http://www.theatre.asn.au/tracker
PLEASE NOTE: The feed does not include posts other than the first one. To follow a forum thread or further posts of a topic you are interested in, you will have to come back to the site.
Theatre Australia updates in Facebook
Having a list of latest posts from Theatre Australia display in Facebook is as easy as 1, 2, 3:
Be sure to drag the Theatre Australia app up your profile screen by clicking and dragging - otherwise you'll never see it down the bottom!
All the latest posts fresh from Theatre Australia in Facebook!
Regards Grant
Making large scale changes to this website
From time to time, regulars and non-regulars discuss making changes on a large scale to this website, whether it be requiring registration to comment, style or formatting issues, etc. I am adding a list here of previous discussions so we can track what's said, who said it, and why. (These are not necessarily listed in any order, chronological or otherwise). If you find other threads, please add them.
This section of the FAQ answers common questions about members and membership.
Casting Couch
The Casting Couch provides a tool for helping you to find that special combination of skills and attributes that may be required for your production.
The Casting Couch is only available to members who are logged in.
If your details aren't appearing in the Casting Couch, be sure to update your account with the appropriate information.
Please note that Casting Couch will not return results for any members that have indicated they may be less than 18 years of age.
Check your Security
Just a friendly reminder to all out there to watch your security. When creating an account, it is in your best interest to create a password that is not easy to guess. There are a number of things you can do the improve your chances here and they include;
do not use words or names that are immediately associated with who you are (like your username, real name, address, etc)
include a variety of numbers, letters and icons (* $ # etc) where you can
increase the length of your password - 4 characters is much easier to guess than say 12
avoid using complete words of any kind or at least bre@k +hem (u)p wi+h 0+her characters
change it regularly
Why do I post this? Well it would appear that someone has been trying guess peoples passwords, including mine, so I thought it a timely reminder.
Deleting posts often causes confusion, it's usually a much better option to post a correction or retraction.
Deleting posts is only available to members with Editor status.
To delete a posted entry:
Go to the entry you want to delete and click on the 'edit' tab.
There will be a delete button below the entry details.
Click on the delete button.
You will be taken to a page that explains what happens when/if you delete a post (it's a double-safe, so you don't accidentally delete).
Press delete if you are sure that you want to get rid of the entry.
Deleting Membership
If you would like to delete your membership - we'll be sorry to see you go! - please send a message to us using the feedback form and be sure to tell us your login name and/or email address.
In order to retrieve your password and/or login, you will need to know either your login OR the email address you with which your account is registered.
A new password will be sent to the email address you used when registering your account.
Once logged in with the new password, please remember to set it to something you will remember by editing your account.
If you are not already logged in, a login box appears near the top left of the screen
Once you are logged, in the login box will disappear and your login name will appear in the title bar of the personal navigation block to the left of the screen.
If you attempt to login and the login box does not disappear but your login name appears in the Who Is Online box as an online user, you may have a corrupted "cookie".
If you are using Internet Explorer:
Go to the Tools menu in your web browser and select Internet Options
In the Internet Options window, click on the Delete Cookies button
Click Ok and then Ok again to return to the browser.
Close all web browser windows and then open Internet Explorer again
You should now be able to login
If you are using another web browser, you need to
delete any cookies for theatre.asn.au
close all browser windows, restart your web browser
login again
If the problem persists please let us know via the feedback form.
Points system
Every time you post on this site, you earn points. The points will build up, and over time, you can earn administrative abilities to the site (like being a moderator).
There are different points given for different types of posts.
Registration
Membership, like all the services on this website is entirely FREE!
This website includes a great deal of functionality. Naturally, not all that functionality is available to all visitors. Instead, various roles have various levels of access to additional features on the site.
Follow the links below for information about each role.
Anonymous Users
Anonymous users are web visitors that don't login to the site. You'll sometimes find them referred to as Walter Plinge.
A fair amount of functionality is open to anonymous users including:
view all public event information
view all public company information
view all published forum topics and comments
view blogs, chat, images, links, news and polls
contribute comments
vote in polls
but a much wider range of features is available to members who log in.
Authenticated Users
Authenticated users are web visitors that have a personal login for the site. Authenticated users are identified by a username or full name - that may or may not be their real name.
Authenticated users have access to all the functionality available to anonymous users plus a great deal more:
add and update events
add and update company information
manage or administer company memberships
add and update venue information
maintain a detailed personal profile and image
view other members' details
add and update web links
post forum topics
moderate or vote on forum topics, events, companies etc.
participate in online chat
Registering as a member, like everything else on the site, is free!
Contributors
Members can earn contributor status by participating and contributing regularly.
This status will usually be assigned automatically after a month or so of regular valued contributions. If, for any reason, a contributor doesn't keep participating regularly, their status as a contributor may lapse - it can alsways be regained by participating more regularly!
Contributors have access to all the functionality available to anonymous users and authenticated users plus other great features:
upload and maintain images
maintain a personal theatre blog
assist with the maintenance of this FAQ and other online books
edit their own forum topics
create polls
If you think you deserve contributor status, but haven't yet had it assigned, don't hesitate to let us know via the feedback form.
Editors
Editors are usually appointed to assist with managing the content on the website.
Editors have the capacity to manage the following aspects of the website:
administer news feeds
maintain books
administer moderation
administer glossary
customise help
administer images
send mail to members
administer companies
create surveys, stories, webforms
If you would like to assist as an editor, please let us know via the feedback form.
Company Manager/Admin
These are people that have requested and been approved as "manager/admin" of
the company registered on this website.
As "manager/admin", they are able to
add new events and other items to the company - as "company members" can.
Company manager/admins can also
edit the company details
approve new company members
appoint new company manager/admins
modify the settings for allowing membership requests
Company manager/admins may determine by the policies they set when editing their company entry and managing memberships whether or not there is any relation between "company membership" and actual membership of the company.
Company Member
These are people that have requested and been approved as "members" of the company registered on this website. As "members", they are able to add new events and other items to the company.
In order to request membership of a company, you must be logged in. Then
if you don't receive a response within a few days, please let us know via the feedback form
"Membership" may bear little if any relationship to actual membership of the company.
Walter Plinge
Who is Walter Plinge and why is he posting so much on this website?
Walter Plinge is a pseudonym often used by actors that don't wish to be credited in the billing or programme under their own name. George Spelvin is another similar pseudonym more frequently in use in american theatres. (Wikipedia article)
Some older items on this website that were posted by people that were not logged in at the time may appear as posted by Walter Plinge. It is also possible to participate in discussions anonymously, comments posted in this fashion will be attributed to Walter Plinge.
The True History of Walter Plinge
Yes, I’m posting. Yes, I vowed to abandon the website to the vicious, uncouth plebs who think it’s cool to abuse people in internetspeak instead of the Queen’s English. So, for all you with the itchy finger over the reply button, STOP – I know I’m a hypocrite, so you don’t need to point that out to me. I KNOW! Two people have already reminded me of what I previous said, as if I had the memory span of a –insert metaphor here-.
Now that I have that disclaimer out of the way, let me get down to business. A lot of people have recently been enquiring about who a certain Walter Plinge is. Well, I’ve been doing some research and this is what I’ve discovered.
The pseudonym Walter Plinge can be traced back to as early as the 12 century AD. Plinge is derived from the latin, plingeum, which means excrement. The middle ages saw the rise of the knight class with a large entourage of servants that assisted in equipping and maintaining the vast resources a knight required to continue his service to both monarch and the papacy. In fact, the historian Grant Malcome said that the average knight needed approximately ten personal retainers. One of the lesser known retainers of a knight is the plinge. A knight stabled many horses for times of war. The problem of having a large quantity of horses was the disposal of the excrement in the stables, the job given to the plinge. The invention of the shovel was centuries away, making the occupation of the plinge a rather messy affair. The plinge were required to pick up the horses dung and deposit it into bags. What they did with these bags is unknown, but the modern historian Dr. Labrug, suggests the bags could have been used in some sort of pagan ritual.
Walter Plinge is perhaps the most famous of this profession. He led the infamous revolt of 1287 in Maldon, where he and hundreds of Plinges protested against working conditions. The protests escalated outside the citadel of Lord Peter Stinger. Peter left the sanctuary of his ebony tower to go down to the Plinges to try and resolve the conflict. It is here on the fateful day of March 12th, that an impetuous plinge by the name of Gregory Ross threw a piece of horse excrement in Stinger’s face, marking the Lord with an unholy stench. Stinger was so outraged by this insolence that he ordered all the plinges to be put to death. He wrote to Pope Innocent the Censor and demanded that all plinge be given the status of heretics. Fearing Stinger’s large arsenal of adjectives, he complied and all of the plinges in England were rounded up, tortured and put to death.
Walter Plinge left a legacy. The term plinge has been modernised to mean “to throw shit at another’s face.” This has been adapted to the Theatre Australia website. Walter Plinge is a pseudonym used for people who wish to post to throw shit at another's face. But little do they know, like their middle age counterparts, in order to throw shit at their opponents, they must first get their hands dirty.
Spam and Trolls
Popular sites and those that rank highly in search engines attract a lot of attention from spammers. As a consequence of its popularity, on an average day there may be anything between a couple of hundred and a couple of thousand attempts to post spam on this website. The attacks are usually made by armies of zombie PCs infected with viruses and directed by internet criminals.
Most attempts to post spam on this site are blocked before they even come close. Some come closer and very occasionally some spam will slip through the many layers of blocking and filtering that are in place.
If you spot some spam getting through onto our website, don't fret! It will usually be picked up by one of the contributors or editors and removed from publication very quickly. If you feel that the spam might have been missed, please copy the address of the page where you found the spam and paste it into the feedback form with a quick explanation.
Contributors and editors can mark items of information and comments as spam by clicking on the 'Mark as spam' link near the bottom of the item or comment. Items marked as spam will be reviewed by the administrator and may be re-published if incorrectly reported. Otherwise, they're deleted automatically. Please do not use the moderation button to remove spam; it does not remove it from the site altogether, but rather 'hides' it. By using the moderation button, it makes it harder for editors of the site to remove it altogether.
Community vs the Troll
I was going to post a big essay like thing about Trolls but the topic has been done so much across the net that I would only be repeating much of what has been said and done before. Instead of going into lengthy detail, here are some links.
However, believe it or not, I am here today to say thanks to Trolls, as well as to say an honest thanks all those wonderful people out there who continue to offer their support to Community Theatre in general.
As most if not all of the ITA Regulars, and not so regulars, may be aware, I and a number of other high volume contributors to the site have been regular targets for a number of Trolls, both registered and anon. I do not plan to speak for anyone else as to their personal experiences yet will relay what I have learnt.
The intention of Trolls have been to disrupt and destruct. I and the shows that I have been involved in have frequently attracted the attention of the ranks dissenters, their goal to somehow upset my apparent 'fragile' ego (which as anyone who knows me will tell you is firmly in place and would probably take a thermo-nuclear device to dislodge.) :LOL:
The results have been anything but! I have been cast snipes for my directorial work in "Quake" and "Quality Street", and my performances in "Geometry of Love", "The Venetian Twins" and "Romeo and Juliet" have had swings taken at them, as recent examples. I have had posts posing as legitimate anon users, which is actually repeating Trolls, yet the tell-tale-signs are always there. The arguments are without basis or blatantly false. They are personal and usually of no constructive value what-so-ever. Tripe.
Yet in all these instances, there has been one constant that has never failed; the sense of community spirit that erupts from the obvious and not so obvious sectors of the industry. My latest production of "Romeo and Juliet" is a prime example. We had additional audience members turning up based on the posts of a certain registered member (who decided to post anonymously for a change) just to see what the fuss was about. I was offered so many words of support and encouragement as a result of the attacks that I felt immensely proud to be a part of such a wonderful community. The show itself became a focus point for so many people who may have otherwise not paid it any attention.
Best of all, it made audience members seriously consider their own personal opinions of the show they saw, rather than walking away saying "Well that was fun", and it is was always cast in a far better light than that of the Troll. This is true for all the shows I have been a part of. Even though it was not the intent of the Troller, they actually assisted in promoting the show (and inadvertantly myself) to a more positive view. For this, I thank Trolls.
This is why, at the end of the day, it is best to either ignore a Troll or to treat them kindly and with sympathy. After all, as my personal experience has shown me, they are only digging a hole for themselves.
This message was brought to you by a "Hammy and Aging 'Actor'."
Has your comment or topic been flagged as SPAM?
This site has a VERY TIGHT and COMPLEX SPAM catching tool with very nearly thousands of SPAM Filters currently in play. It doesn't catch all of them and we regularly update these filters to ensure that more are captured.
The trick is to develop filters that are able to distinguish between SPAM and Legit Postings. Sadly, and all to often, a Legit posting by one of you will trigger one of these many flags and your post will be marked as SPAM. In most cases, it will be stored away for later review by an Admin Officer. In other cases, it may be removed completely.
Where a comment has been automatically marked as SPAM, please DO NOT try posting again unless there is a really urgent requirement to get your post up. This only creates duplicate postings. In addition, and more importantly, with every comment flagged as SPAM, the system strengthens the SPAM filter that detected the posting. Duplicate postings that continue to be flagged as SPAM will only serve to increase the impact of the particular filter being flagged.
So, if you post a Topic, or a Comment, and are advised that the item has been flagged as SPAM, and that someone will review it, please rest assured that it will be reviewed in good time and if found to be legit (not SPAM), it will be published as intended.
Please do not attempt to repost items.
Speech is not free when it comes postage due. - Jim Nitchals
Rule #1: Spammers lie. Rule #2: If a spammer seems to be telling the truth, see Rule #1. The Rules of Spam
This site is very slow!
"I know! Believe me, I spend much more time here than you do and I hate waiting for pages to load when I'm trying to get things done. So, as you can imagine, I'm constantly looking for ways to make the site perform faster." Grant Malcolm, site admininstrator.
Why is the site so slow?
Every page is generated live including the very latest information available. This is usually very quick - under 2 seconds per page.
Sadly we've recently been under attack from an army of zombie PCs under the control of spammers and other internet criminals. Where we might normally expect to see 20-30 "guests" on the site at one time, we've recently had as many 4-5 times that number of guests as a result of this unwanted attention. This places a fair amount of load on the server and drags down the performance for everyone. Hopefully the attention of the spammers will soon pass elsewhere.
Is there anyway of making things faster?
If you are logged in as a member, yes. Edit your account settings and look for the section where you can select which blocks should be displayed down the sides of each page. Turn off any blocks you don't wish to display.
Website rankings
Many visitors to this website may be unaware of just how well frequented this website is. We regularly rank in the top 250,000 websites anywhere on the Internet.
The following table shows live Alexa traffic rankings for this website compared with other prominent (and not so prominent) australian and international theatre websites.
Essentially the lower the number the better. The traffic ranking shows where the site ranks against other sites around the world. Alexa traffic rankings are...
based on three months of aggregated historical traffic data from millions of Alexa Toolbar users and is a combined measure of page views and users (reach).
FAQ's in this section provide information relating to the What's On or events section of the website.
Adding events to What's On
If you would like your auditions, classes, meeting or production to appear in the What's On section of this site, you will need to be logged in.
You should then:
if you are already a member or manager/admin of the company,the company name will appear in your personal navigation block to the left of the screen. Click on the company name and go straight to step 7.
otherwise, find your company on the companies page and request a membership
if your company doesn't appear, you will need to add your company
on your company's page, look near the top right for the company's info block
you will need to click on the request membership link in the company's info block
once your membership has been approved by the company manager/admin, options to add various events for this company will appear in the company's info block
if you are already a member or manager/admin of this company, options to add various events for this company will appear on your company's page in the company's info block; click the relevant link and complete the form to add your link
Like all services on this site, What's On listings are free.
If you experience difficulties with the above steps, use the Feedback link to request assistance. Include as much detail as you can so that the Admin Officer can identify your requirements. Inlcude Links if possible.
Deleting events
Before you delete any event, please bear in mind that visitors may already have seen the event details and may return looking for the information you are wanting to delete.
Particularly where an event has been cancelled, it is often better to publish a correction so that these people aren't left searching for the vital news that the event has been cancelled.
In particular, please do not delete past events. These events constitute an important historical record; an archive that has been recognised by staff at the National Library of Australia. Past events will automatically be moved to the past events listing for your company.
However, duplicate events can, and should, be deleted.
In order to delete an event:
you will need to have manager/admin access for the company holding the event.
once you are a manager/admin of a company, you will notice that an edit tab appears at the top of that event's page.
click on the edit tab
near the bottom of the screen, click on the delete button
you will be prompted once to confirm the deletion.
Editing events
If you have found an event with incorrect or out of date information, you are actively encouraged to update that event's information.
In order to edit an event:
you will now need to request manager/admin access for the company holding the event.
once you are a manager/admin of a company, you will notice that an edit tab appears at the top of that event's page.
click on the edit tab and you will be able to update the event's details.
Entering A New Production on Theatre Australia - TIPS
Entering a New Production on Theatre Australia - TIPS When entering a new production before you enter your production dates make sure you click the 'clear all dates' button first. Otherwise the date you entered the information will also list on the site as a production date.
After submitting a new production and you realise you need to edit it. You will need to repeat the clear dates and enter your production dates again.
When specifying target audience in your check box list at the end of the submission page please only tick the one that is actually presenting it. Otherwise multiple entries of that production will list.
When entering your show information please select the appropriate state that show relates to. If it relates to the whole of Australia - fabulous... however if your show is only in VIC for example, there is nothing worse than someone selecting Productions in WA and seeing a listing for a show that says Australia and only relates to Melbourne.
Cheers Melz
Help your readers - add a location to your audition notice or event
Some posters do, but many do not. It would assist users of this portal if announcements about shows, auditions, etc had the location in the post title. It is not enought to have the in the tag line at the top of the post.
I've added my event but it's not appearing!
Events - auditions, productions, classes and meetings - will only appear in relevant lists if they are associated with a company.
near the very bottom of the screen, immediately above the Submit button, ensure that you have checked the box next to the relevant company in the Audience section.
Has your new thread Vanished?
My personal apologies firstly as I thought I had posted something on this previously but I can't locate it now.
Some of our registered members may have noticed that some time after having posted a new thread (Review, Blog, Production, etc) it appears to vanish from the forums. More astute members have noticed that they do not so much disappear as have their last post date set to something very odd.
This is a known problem and is being looked at.
If you feel a posting of yours has "disappeared" in this way, then I would suggest the following solution;
Select My Account from the left hand menu, then select Track from the profile tabs, and finally click Last Post to change the sorting order. You will find your 'reset' threads here. You can reset the Last Post date by simply posting a comment to the thread.
The problem only occurs where a new thread has had all it's comments removed. As our site is hit by a high number of SPAM attempts, this happens occasionally as the SPAM comment gets removed automatically.
I have tried to recover as many as I can but a few will slip through.
Theatre Biomechanics
Theatre Biomechanics
August 22 - 29
Austria
International intensive workshop under the direction of Russian theatre direction and teacher
The working language is English.
Participants will explore the principles of Theatre Biomechanics, the psycho-physical approach in contemporary performer’s training and its application to practical work - rehearsal process, performance and teaching, and will learn one of the classical Etudes.
More details & Registration:
http://www.iugte.com/projects/biomechanics
